«Looks to be a high-profile festival run.»

A fresh, inquisitive portrait of her pivotal teenage years from director Barbara Albert, Mademoiselle Paradis is less interested in its subject’s potted biography than in how her era’s vicious politics of class and gender affected her plight. The engrossing result feels entirely modern, despite more spectacular, candy-colored ruffles than you can shake a bustle at.
Kicking off what looks to be a high-profile festival run with competition berths in San Sebastian and Toronto’s Platform program, Mademoiselle Paradis should have little trouble securing distribution in multiple European regions — its profile assisted by the rising star of Romanian leading lady Maria-Victoria Dragus, who doubles down on the strong impressions she made in Cristian Mungiu’s Graduation and Michael Haneke’s The White Ribbon.
(…) a brilliant production designer in Katharina Wöppermann, whose hyper-ornate furnishings and finishes here evoke the false, stifling politesse of Rococo Vienna.
(…) That’s a lot of personal and symbolic strain to place on a single character, but Dragus’ superb performance can carry it.
Dragus conveys the sense of a woman genuinely overwhelmed by her own senses.
Guy Lodge, Variety

An exquisitely crafted period drama.
Allan Hunter, Screen Daily

Mademoiselle Paradis is a dark period drama, elegantly depicted through  Christine A Maier’s cinematography, and set in the culturally vibrant Habsburgian era.
Resi, mesmerisingly portrayed by rising star Dragus, is a true pioneer of her generation, in an open-minded but still excessively austere artistic society.
Mademoiselle Paradis is not a movie that talks about the past, because just like Resi, there are still women today who are forced to choose between a depressing but secure darkness, and a frightening but awfully revealing light.
Vassilis Economu, Cineuropa

Mademoiselle Paradis’, brillante reflexión sobre el compromiso personal del artista, y lo habitual de esta edición, otra inspirada interpretación femenina

En la 65º festival de San Sebastián, y a la mitad de la sección oficial, ya no basta presentar una buena película (como es el caso) sino que, dada la extraordinaria calidad de programación, para sobresalir tiene que ser extraordinaria o rozar la obra maestra.
Carlos Loureda, fotogramas