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Hannah

HANNAH is the intimate portrait of a woman’s loss of identity as she teeters between denial and reality. Left alone grappling with the consequences of her husband’s imprisonment, Hannah begins to unravel. Through the exploration of her fractured sense of identity and loss of self-control, the film investigates modern day alienation, the struggle to connect, and the dividing lines between individual identity, personal relationships, and societal pressures.
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WHAT ARE CRITICS SAYING?

75

Washington Post by

The veteran English actress, 72, a onetime femme fatale who has matured into a peerless performer, gives a first-rate lesson in the art of acting, as a woman crumbling under duress after her husband is incarcerated. And yet the Belgian-set drama, by Italian director Andrea Pallaoro, could also be called self-indulgent, plodding and minimalist, in a big way.
50

Arizona Republic by Barbara VanDenburgh

Andrea Pallaoro’s frigid portrait of a woman in crisis is more a calculated exercise in formalism than an achievement in storytelling. His well-composed images of loneliness are cerebrally satisfying but lack emotional heft.
50

The Hollywood Reporter by David Rooney

Charlotte Rampling gives an emotionally rigorous display of bruising internalization, without an ounce of vanity, in the title role of Hannah. But although the lead performance commands admiration, the overall impact of this unrelentingly dour account of a woman struggling to carry on with her life after her husband's imprisonment is dulled by its distancing approach.
38

RogerEbert.com by Godfrey Cheshire

There is a real seed of dramatic possibility in Hannah, but Pallaoro smothers it beneath the lacquer of the film’s fastidiously mannered minimalism.
70

Variety by Guy Lodge

This is an impressively rigorous exercise, in which the director’s sober formalism finds a kindred spirit in his leading lady’s studied, secretive restraint.
80

The New York Times by Jeannette Catsoulis

Rigorously structured and glacially paced, this sophomore feature from Andrea Pallaoro (after his 2015 family tragedy, “Medeas”) is a minimalist portrait of brutal isolation and extreme emotional anguish.
63

Observer by Rex Reed

There’s nothing else to watch or care about in the entire film anyway. Once again, a great actress is on her own.
70

Los Angeles Times by Sheri Linden

Rampling, a Modigliani of long-limbed litheness with a face built for sorrow, inhabits the role and the visual compositions so deeply that the character resonates long after the film has ended.

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