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The Hollywood Reporter by
Heart-wrenching as well as spirit-raising.
The New York Times by
It is a heartbreaking film, and cruelty sometimes seems to be not only its subject but its method. Like the child on a high cliff that is one of its recurring images, the film walks up to the edge of hopelessness and pauses there, waiting to see what happens next.
The New Yorker by
Turtles Can Fly has little space for mawkishness, and the kids are far too cussed to be cute. It is, in every sense, the more immediate achievement: it hits and hurts the eyes (the rainy days are lousy enough, but the skies of royal blue, above such grief, feel especially insulting), and it also seems to bleed straight out of the headlines.
Los Angeles Times by
Ghobadi uses the lack of resources and the surfeit of drama that had been the lot of the Kurds throughout Hussein's dictatorship and both Gulf wars much in the way De Sica and Rossellini used the European tragedies of the '30s and '40s,
L.A. Weekly by
Ghobadi's genius seems supercharged rather than weighed down by his higher calling, and his imagery is so boilingly alive that we come away from it feeling exhilarated rather than depressed.
Christian Science Monitor by
Superb acting and authentic details energize this rare Iran/Iraq coproduction.
Village Voice by
Amid the muddy scrubbery of the camp and its hinterland surroundings, Ghobadi catches some striking compositions.
The A.V. Club by
Turtles Can Fly creates a haunting reminder that collateral damage can't always be measured in casualty rates, and that it goes on long after the news cameras have left the scene.
Ghobadi in this pic displays a complete command of his art as he shifts between -- and even blends -- wrenching tragedy and amusing comedy.
From the most unexpected place, come a new call for peace