Slant Magazine by Carson Lund

It grapples with emotional enigma of infatuation, and the question of how such a mighty force can also be so fleeting.

Variety by Guy Lodge

This narratively slender item is unapologetically a mood piece: a film that’s in love with love, in love with cinema, and concerned that neither is built to last.

RogerEbert.com by Matt Zoller Seitz

The film’s clever editing (credited to Klinger and Geraldine Mangenot) jumps back and forth through time in intriguing, sometimes intoxicating ways, and even when the drama flags there’s always a stunning image to stare at.

The A.V. Club by Jesse Hassenger

Its strongest evocation of poignant, imperfect memory has to do with its leading man, and the glimpse it provides of a fuller career that never was.

The Film Stage by Ed Frankl

Set in the picturesque Portuguese city of the title, the film demonstrates first-time fiction director Gabe Klinger’s eye for visual storytelling, but his script, co-written by Larry Gross, feels undeveloped for anything further than glib, Instagram-like testaments to cherished moments in time.

Los Angeles Times by Robert Abele

The best thing about Klinger’s time/memory/dream aesthetic is how it looks: the visual equivalent of an audiophile’s nostalgia for vinyl. But the time jumping feels precious, and the screenplay — written by Klinger and Larry Gross — falls too easily into clichés.

The New York Times by Jeannette Catsoulis

This first narrative feature from Gabe Klinger seduces with breathtakingly gorgeous visuals that feel both achingly nostalgic and elegantly modern. These often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement.

The Guardian

Whatever the reason, Porto – much of the action unfolds in the Portuguese holiday spot – struggles to convey its passions, despite considerable effort from its two leads, an intuitive soundtrack and handsome photography.

ScreenCrush by Britt Hayes

Between the haphazard zooms and the odd editing meant to evoke the way we re-stitch fragments of memory in hindsight, Porto reads like a short student film pointlessly extended to feature length.

The Guardian by Ed Gibbs

Whatever the reason, Porto – much of the action unfolds in the Portuguese holiday spot – struggles to convey its passions, despite considerable effort from its two leads, an intuitive soundtrack and handsome photography.

Village Voice by April Wolfe

All of this is attractive, yet I felt nothing for these people, their pain, or their possible lost future.