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Our Souls at Night

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United States · 2017
1h 41m
Director Ritesh Batra
Starring Robert Redford, Jane Fonda, Matthias Schoenaerts, Iain Armitage
Genre Drama, Romance

Addie Moore and Louis Waters, a widow and widower, have lived next to each other for years. Hoping to alleviate her loneliness, Addie reaches out to make a connection, asking Louis if he wants to platonically share a bed with Addie at night.

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What are people saying?

What are critics saying?


The New York Times by A.O. Scott

Part of the pleasure of this film, directed by Ritesh Batra (“The Lunchbox”), lies in the rediscovery of what wonderful actors they can be, and how good they are together.


TheWrap by Alonso Duralde

There’s nothing particularly world-shaking about Our Souls at Night, but it’s a nice movie about nice people finding love.


The Hollywood Reporter by Deborah Young

Both Redford and Fonda are charming, delicate and convincing as Addie Moore and Louis Waters, the couple who find each other at the tail end of their lives. They are directed with sophistication and without a drop of melodrama or sentimentality by Ritesh Batra


Variety by Guy Lodge

It’s hard to deny that the small screen may be the most natural fit for Batra’s film, given its pleasantly mollified storytelling and blandly unassuming visual style.


Los Angeles Times by Kenneth Turan

Made with care and conviction as it explores this unexpected relationship, "Our Souls at Night" understands both what changes in people as they age and what remains the same. It covers quite a bit of emotional territory, and it covers it well.


Screen Daily by Lee Marshall

There’s an air of well-oiled, made-for-TV efficiency about the exercise that extends from Lunchbox director Ritesh Batra’s safe hand on the tiller to Stephen Goldblatt’s golden-light photography.


Chicago Sun-Times by Richard Roeper

About half the scenes in Our Souls at Night consist of Jane Fonda and Robert Redford simply talking to one another. Those scenes are more exhilarating, more intoxicating and more memorable than many if not most gigantic action sequences in big-budget movies.


The Telegraph by Robbie Collin

The whole package is still charming on its own cosy terms – the film equivalent of a loveable old hound that fetches your favourite slippers, rolls over for a tickle, curls up on your feet, contentedly passes wind, then nods off.


The Guardian by Xan Brooks

Our Souls at Night is your classic Hollywood weepie, so immaculately played that it confounds crass preconceptions.

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