60
Through Eklöf’s ruthless observations on sex, class and family, one comes to view this world with a cold-blooded voyeuristic gaze.
What are people saying?
What are critics saying?
91
Holiday is a fearless work, anchored by Sonne’s bold, subtle performance, which keeps her motivation unclear until a burst of developments at the startling conclusion.
50
The New York Times by Glenn Kenny
Because Eklof’s approach is formally very clean, showing some genuine, intriguing detachment, I’m apt to prefer it to Seidl’s work. But not by much.
80
It’s a cool, hard trip, icy in the fullest glare of the afternoon sun, in which even the pallid, expensively tacky interior of the villa — hats off to production designer Josephine Farsø — invites tension and judgment.
80
Los Angeles Times by Kimber Myers
Eklöf doesn’t seem to care if you like her film or her characters — including the protagonist — and it’s this boldness that keeps you watching.
60
The Guardian by Peter Bradshaw
There is no doubting the verve and style of Eklöf’s film-making – and the brutality from people on an open-ended holiday from ordinary human empathy.
100
The Hollywood Reporter by Todd McCarthy
Like a crafty predator, the Danish knock-out Holiday lays patiently in wait as long as it needs to — in this case nearly an hour — before stunning its prey, the spectator, with a shocking scene that catapults the film to a whole different level.
70
Unfortunately some of the power of this resolutely unflinching drama is lost because Sascha is such a vacuous and shallow presence at the centre of picture.