90
The New York Times by Dana Stevens
This movie operates in the limbo between memory and oblivion that we recognize as daily life. It bears courageous and stringent witness to the impossibility of bearing witness.
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75
Christian Science Monitor by David Sterritt
Finkiel's filmmaking is so careful and cautious that it becomes plodding at times. The theme is powerful, though, and the movie's sincerity overrides its heavy-handed tendencies.
75
New York Daily News by Elizabeth Weitzman
Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.
80
His (Finkiel) ability to control economical dialogue with subtle but unusually powerful images -- haunted faces peering out from behind foggy bus windows; train tracks that once carried other passengers to a death camp -- lend this quiet, unforgettable film an uncanny power.
91
Seattle Post-Intelligencer by Sean Axmaker
Shooting with a respectful remove that captures an intimacy by sheer doggedness, Finkiel creates a rich atmosphere by simply looking, listening and peering past the surfaces.
90
Finkiel (a French director who apprenticed with Godard, Tavernier, and Kieslowski) plants clues throughout the film suggesting that the women might be long-lost relatives but declines to wrap things up neatly. The very uncertainty--and the fading possibility of an end to their search--is what makes the film so eerie and poignant.