91
All the performers are superb, though as the title suggests, this is Viviane’s show, and Ronit makes for an exceptional martyr (she gets a Passion Of Joan Of Arc-worthy close-up or two) who never loses her very human shadings.
What are people saying?
What are critics saying?
90
Los Angeles Times by Betsy Sharkey
The tragedy here is not a single story but that a process so inequitable and so inane continues in a place that is considered to be enlightened. Gett, in moving and infuriating ways, exposes a very bleak corner of that world.
90
New York Magazine (Vulture) by David Edelstein
The brilliance of Gett: The Trial of Viviane Amsalem is that, without a shift in tone, the film begins to seem like a tragedy populated by clowns, its males clinging to ancient laws to compensate for feebleness of character.
88
Slant Magazine by Elise Nakhnikian
The courtroom's cramped, near-featureless air of bureaucratic stagnation becomes oppressive even for the audience, making it easy to identify with Viviane's growing hunger for freedom.
88
New York Post by Farran Smith Nehme
As Viviane, Elkabetz is fascinating, wielding an incredible variety of contemptuous looks.
90
The beautifully modulated script, ripe with moments of liberating humor, builds to a crescendo of indignation, allowing Elkabetz several cathartic outbursts, but they’re no more riveting than the actress’ silences.
100
The acting, especially from Menash Noy as an ineffectual attorney, is phenomenal, resulting in a feminist knockout told in inverse.
90
The Hollywood Reporter by Leslie Felperin
It’s an altogether strange but astonishing work of craftsmanship.
80
The Elkabetzes don’t need the audience to have any firsthand experience of what Viviane and Elisha are actually like at home. Gett works better if the viewer has to puzzle out the truth from testimony, asides, and outbursts.
90
Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.