Tapa's poetic neorealism is less a stylistic intrusion than a keeping of faith, through the film's deliberately uneven pacing, with a life devoid of rhythms to count on.
What are people saying?
What are critics saying?
Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
The Hollywood Reporter by Frank Scheck
Manages to be effective even though the Indian drama is rough around the edges.
Writer-director Tariq Tapa-who shot much of this vérité-style film by himself-does a beautiful job attuning us to Dilawar's drifting routine, but what's especially striking is how he gives equal weight to the supporting characters.
This is the story of two young people whose aspirations are of absolutely no interest to their elders. Zero Bridge is a fitting found title for the movie, but Tapa could also have called it No Exit.
Boxoffice Magazine by Mark Keizer
Having spent multiple summers in Kashmir as a child, he (Tapa) knows what the average Kashmiri wants and the difficulties they encounter trying to get it. It's what makes Zero Bridge a winning example of modesty in front of the camera and intelligence behind it.
The New York Times by Mike Hale
Handicapped by Mr. Tapa's sometimes sketchy screenplay and the limitations of his nonprofessional cast. (His clumsy staging of their dialogue scenes doesn't help.)
Zero Bridge is a rigorous piece of filmmaking, but it's played at too minor a key, honoring the neo-realist tradition so slavishly that it lacks an identity of its own.