An early Antonioni drama that looks at the sad fate of a manipulated woman, as well as taking a satirical swipe at the commercial end of the Italian film industry […]. Characteristically, Antonioni is less concerned with plot than with creating fluid set pieces and eloquent framings of his beautiful actress and the surrounding decor. The resulting cocktail is slight on psychology, but invariably stunning to behold. — TimeOut London

Handicapped somewhat by its episodic structure, which requires some top-heavy narrative exposition at the outset of each segment, The Lady Without Camelias still impresses through its annexation of an all-too-familiar theme to the personal and singular style of its director, with Bosè figuring grandly and mysteriously as both the pivotal point and the troubled center of a densely created universe. — Jonathan Rosenbaum, Monthly Film Bulletin, 1975.