Christian Science Monitor by David Sterritt

Piccoli gives one of the most nuanced performances of his distinguished career, but the primary star of the movie is de Oliveira, who unfolds the story with unfailing skill and sensitivity.

New Times (L.A.) by Gregory Weinkauf

The confusing, demanding role finally brings the actor home, and us with him.

Chicago Tribune by Michael Wilmington

One of the most beautiful of all recent films on the problems of old age -- and on the interplay of theater and life.

L.A. Weekly by Ella Taylor

I’m Going Home is as much an ambiguous poem to Paris as it is a study in artistic and physical mortality, and an elegy for a more decent past as it gives way to a brassier, more corrupt new century.

Washington Post by Desson Thomson

Simple, yet quietly astonishing film.

Entertainment Weekly by Owen Gleiberman

The result is something as original as it is unlikely: a study in grief that is flooded with happiness.

Washington Post by Ann Hornaday

Viewers who come to this delicate creation with expectations of just another quaint or sad story are in for a surprise.

Los Angeles Times by Manohla Dargis

By far the most approachable of the director's recent films, with an emotional depth that's true to life and a streamlined narrative that for long stretches barely contains a word.

The New York Times by Stephen Holden

Gives you the steady pulse of life in a beautiful city viewed through the eyes of a character who, in spite of tragic loss and increasing decrepitude, knows in his bones that he is one of the luckiest men alive.

San Francisco Chronicle by Carla Meyer

A famous French actor using his art to work through the loss of his wife and daughter in a car accident. The strategy works, at least for a while.

Chicago Sun-Times by Roger Ebert

There are a few movies where you can palpably sense the presence of the director behind the camera, and I'm Going Home is one of them.

San Francisco Chronicle

A famous French actor using his art to work through the loss of his wife and daughter in a car accident. The strategy works, at least for a while.

New York Post by V.A. Musetto

Veteran French star Michel Piccoli is superb as an aging actor named Gilbert Valence.

New York Daily News by Elizabeth Weitzman

With this moving, contemplative portrait of an artist who has suddenly become an old man, de Oliveira refuses to patronize either his hero or his audience.

Village Voice by J. Hoberman

Restrained, precise, and unobtrusively wry.

Variety by Deborah Young

Elusive and elliptical as it is, this is one of the most accessible films in Oliveira's recent repetoire.

Portland Oregonian by Shawn Levy

The story told by I'm Going Home is small and perhaps not terribly universal. But there's something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us.