A SELECTION


A NEW YORK TIMES REVIEW – full review

The most remarkable achievement… Not a moment is wasted, nor a word. … As Mr. Marton says in his notes on the film, “When opening wounds, the first thought or fear is that of infection.”
It is the wonder of Mr. Marton’s film that his young people heal their wounds almost before our eyes. They end not as victims, but as exemplary human beings. And we leave convinced that – to quote again from Mr. Marton- “nothing short of complete healing is required of all of us.”
Individual identity, individual healing, individual transcendence are his subjects. It deserves a much wider audience.
John Russell – The New York Times

Having established his medium’s danger, Marton attacks its ontology.
A stand-out. An unforgettable image of Marton’s performance, talking suicide.

J. Hoberman – The Village Voice


AN ARTS MAGAZINE REVIEW – full review

Marton is attacking ideas… He asks us to question whether what we see is what we hear...  finds comfort on the razor’s edge…
A carefully crafted chaos, a brilliant meditation on the refinement of anguish. Nightmares, he insists can only be dreamed by a conscious mind.

Douglas Blau – Flash Art & Arts Magazine

Turns your brains inside out like Hitchcock’s trickiest scenes. As sharp as a crack of the whip.
Patrick Rousseau – Libération, Paris

Pier Marton, one of the most interesting artists… scrutinizes his breath in two short pieces with great rigor. XIeme Biennale de Paris
Jean-Paul Fargier – Le Monde, Paris


‘Like Men’ is Pier Marton’s heartfelt exposé of male vulnerability. It is a stunning effort, a real labor of love.
Linda Frye Burnham – The L.A. Weekly

Calls on the viewer to assume various reading strategies. The self-reflexivity becomes a complex reformulation of interactive strategies.
Larry Horne – On Film

A deep mood out of sluggishly beautiful sounds and blurry sights, infused with poignancy.
Patrick Scott – Media Arts

‘Like Men’ is a refreshing relief from the conventional documentary approach which satisfies its purpose by generating ‘information’, thereby effectively dismissing the issue. The fact finding compulsion is critiqued by one of the speakers (anti-pornography writer, John Stoltenberg), who suggests that ‘reasons for violent behavior begin to look like excuses.’ Like Men is rather a mirror held up before men, asking if they recognize themselves. Their participation in the process of awareness is encouraged by the sensitivity of the work.
Gary Reynolds – Vinyl Magazine

‘Like Men’ is an unusual and unusually powerful combination of aesthetic and political sensibilities. The images and voices of men discussing men’s violence remain with you long after the last light has faded from the screen. I have seen the film’s illuminating intensity provoke illuminating and intense discussions.
Harry Brod – Writer and Editor, Theorizing Masculinities, Making of Masculinities & A Mensch Among Men: Explorations in Jewish Masculinities.

On a black chalkboard wall that leads to the screening room, a visitor records her positive response to Marton’s art: ‘Amos, Joel, Gideon. My brothers’ seeds are sprouting from the ashes of Auschwitz.’
Bay Area Express