The Great Man(Le Grand Homme)

The A.V. Club by A.A. Dowd

It’s shockingly humorless and glacially slow for a film featuring a bendy boy genius, an invisible woman, a human torch, and a talking pile of stones.

Slant Magazine by Diego Semerene

It exploits the military aesthetics that lend themselves so well to breathtaking sounds and visuals without fetishizing them.

The Hollywood Reporter by Jordan Mintzer

With an acute style marked by lengthy tracking shots and crisp natural cinematography from Laurent Desmet (Shall We Kiss?), Leonor manages to convey emotions through purely visual terms.

The New York Times by Manohla Dargis

The filmmaker Sarah Leonor has a keen eye and a gentle, unassuming touch. In The Great Man, she discreetly changes moods and storytelling modes like a pianist sliding her hand down a short, soft glissando.

Village Voice by Nick Schager

While Renier embodies his PTSD-afflicted soldier as a man similarly out of sync with his surroundings, his heartfelt performance isn't enough to overshadow the fact that this often incisive look at modern identity confusion and redefinition loses its dramatic momentum long before its finale.

Boston Globe by Peter Keough

It takes a woman to make a great film about the all-male bastion of the French Foreign Legion. Claire Denis did so in her elliptical desert updating of Herman Melville’s “Billy Budd” in “Beau Travail” (1999), and her fellow French director Sarah Leonor nearly equals that feat in The Great Man.