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Village Voice by
Richer in metaphor than narrative drive.
Chicago Reader by
Its numerous ancillary characters are so closely observed that even those without speaking parts register as people, in a manner than blurs the line between strangeness and intimacy.
New York Daily News by
It is driven by the finely expressed -- if nearly mute -- performance of Lemercier. We learn a lot about this woman and her emotional state from Lemercier's subtle body language. As for Lindon's Jean, well, it's enough that he's there and doesn't require batteries.
Boston Globe by
Has a sultry and complex psychological intent all its own, yet it's reminiscent of some earlier Denis works, including ''Nenette and Boni.''
Chicago Tribune by
This movie gives us mostly the "what" when we need a bit of the "why" as well. In her other, better work, Denis always supplies it.
Rolling Stone by
A mesmerizing erotic odyssey.
L.A. Weekly by
Beguiling and intoxicating.
The A.V. Club by
Seasoned with amusing bits of fantasy, like a pizza topping that briefly curls into a smile, Friday Night captures the city at its most inviting, alive with the feeling that wonderful things can happen to ordinary people.
Seattle Post-Intelligencer by
The most sensuous and intimate work of cinema of the past few years, a film that luxuriates in the immediacy of the moment. There is no guilt to the act, only exhilaration, joy and freedom. At least for the moment.
A rare and tender delight.
Boy with two faces meets girl with two souls.