“The tradition can also affirm the resilience, humor, and even charm of its characters—which En el Séptimo Día does so generously that it gave me more pleasure than any film I’ve seen in a while. Much of that pleasure comes from sheer visual satisfaction, prompted by the joy that cinematographer Charles Libin finds in every street corner, walk-up apartment, and stretch of public park.” – Stuart Klawans, The Nation (2018) on En el Séptimo Día
“The film is at its best when Zimny, his editors Chris Iverson and Brian Miele, and his cinematographers Charles Libin and Nicola Marsh seize these opportunities and squeeze them till the nectar runs out. These sequences in the movie fuse archival images with highly stylized and even surreal invented images that don't so much re-create important moments in Cash's life as try to poetically sum them up. The results are often glorious.” – Matt Zoller Seitz, Roger Ebert (2019) on The Gift: The Journey of Johnny Cash
“Part Buddhist parable, part social-realist drama, Remote Control exposes both the divides and the invisible interconnectedness in a nation undergoing rapid modernisation. It also boasts the sort of breathtakingly beautiful widescreen cinematography that deserves to be seen on a big screen.” – Anton Bitel, Site & Sound Magazine (2014) on Remote Control
“‘He never lost that childlike curiosity,’ Libin says, of Demme’s enthusiasm for everything, from music to just interesting people he’d meet on the streets. ‘A lot of people who go through that whole Hollywood machine can get very cynical and lose that; he never lost that and that’s something that was very special about him.’” – Charles Libin speaks about Jonathan Demme for CBC Radio