"But Kechiche and Torres’s silent Venus frustrates our desire for story. The effect of watching her is of a blank slate onto which viewers can project motivation, the crude filmmaking further reminding us of the unknowable nature of the real Baartman’s thoughts. By distorting history to convey the past’s inaccessibility, though, Kechiche also hazards replacing it. His incomplete, inaccurate view of Saartjie Baartman, Christian name Sarah, stage name Venus, is one more that the viewer must wrestle with, and find greater context for. The greatest virtue of Kechiche’s film is the extent to which it makes you aware of its flaws."