Kaymak

“Subtle, profound […] Three stories of Macedonian motherhood echo across eras in Milcho Manchevski powerful, evocative, beautifully played drama.“

“[A] unique, tragi-comic experience” (Projektor/A Good Movie to Watch)

“A distinct directorial voice… the courage to be daring” (ODG Magazine)

“Erotic, satirical and sometimes hilarious” (Tomomi Katsuta, Hitocinema Mainichi)

“Masterful… one the rare contemporary artists in the world who passionately explore the human condition… a piece of art that transcends pure, unrestrained emotion that reaches deep” (Marina Kostova, SDK.MK)

“Masterful”

“A cross-section of our today, a reflection in the mirror which should be unpleasant to behold; if we were we not vain and egocentric the reflection would have not disturbed us, a reflection which is neither idealized, nor banalized, but is rather merciless.”

“Master of geometry of the naked human body, without it being the basis of his films, Manchevski also creates some of the most beautiful erotic scenes in contemporary European cinema – whether in the minor ghost key of "Shadows", or in an almost-comedic plan in "Kaymak"… It doesn't really matter, because we're talking here about absolute values.”

“KAJMAK sadrži izrazito kritičan ton usmeren prema kapitalizmu divljeg tipa, sa primerom neverovatne bahatosti u gradnji Skoplja, bez ikakvog plana, ukusa i osetljivosti za urbano razuman i ekološki prihvatljiv razvoj. Mančevski je u nizu svojih filmova, gde se urbano i ruralno (folklorno, prirodno, organsko, iskonsko) dodiruju, sudaraju ili presecaju, a na štetu ovog drugog, pokazao senzibilitet i inteligenciju, vizuelnu i narativnu, kakvu na ovim našim ex-ju prostorima nema niko.”  (Goran Jovanović, filmovipreporuke.com)

“Many things in his films are just like this: small, fleeting, but cutting into our consciousness forever – echoes of a song on the radio in a noisy city; flashes revealing long-lasting truths about man and humanity; characters as eternal (as they are often revealed to us in different times and eras), as dynamic for interpretation. He lives with his characters without manipulating them. He leaves them to introduce themselves ("I'm a carpenter – like Jesus with tits," as one of his characters says), he believes in their development from characters written on paper to complex characters, something are increasingly rare to see in cinema today. Even after a film is over, he gives his characters the charge to continue to live in the mind of the viewer in a larger meta-film.”

"Antagonizmi dva para prikazani su ne samo kroz njhove međusobne/komšijske sukobe, već takođe kroz predstavljanje klase, načina života, ali i pristupa koji svakog od njih vode ka ovom dvostrukom maison à trois [...]. Naličje dve neobične ljubavne priče jesu antagonizmi makedonskog društva, ali i Balkana u celini, koji osciliraju između večitih dihotomija bogatih i siromašnih, modernosti i tradicije, urbanog i ruralnog, zapada i istoka. Od klasičnih tropa Balkana, priča se u segmentima dotiče građevinske mafije, političke korumpiranosti, verskog fanatizma i populističke religioznosti, ali i neinhibirane seksualnosti."

“A rare example of a creator who, in the cynical world we live in, remains primarily a humanitarian, without becoming less rock and roll.”

“[Kaymak has] much wider implications […] some anthological sequences”