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A beautiful and formally compelling work of art.
The New Yorker by
Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.
Tense, kinetic, intelligent and real – as if Paul Greengrass had remade Vera Drake.
New York Magazine (Vulture) by
The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
L.A. Weekly by
Though the frighteningly late-term abortion at its center hints at larger sins in the last gasp of Nicolae Ceausescu’s iron-fisted regime, it’s no metaphor, but a sordidly visceral transaction conducted in the next best thing to a back alley.
Los Angeles Times by
This is a film with a commitment to reality unlike any we're used to seeing.
The Globe and Mail (Toronto) by
Relentlessly dark but expertly rendered, it shares its cinematographer and quality of aggrieved compassion with another recent Romanian art house hit, "The Death of Mr. Lazarescu."
The Hollywood Reporter by
The film is dark, gloomy and without music, but it is also observant and highly suspenseful, with Mungiu using his often static camera to balance banal cruelty with simple generosity.
One of the strongest movies in recent years.
Perversion at its wicked best!
Let your imagination set you free
There is no such thing as the simple truth.
A haunting and shattering film experience.
Love has a language all its own
Troubling, mysterious events pervade a small, rural German town.
The final 15 years of the Ceausescu regime were the worst in Romania's history. Nonetheless, the propaganda machine of that time referred without fail to that period as “the golden age”...
There's more to their new relationship than meets the eye.
Ugly truth, sweet lies.
Love never ends.