RogerEbert.com by Glenn Kenny

This is a sexy, fun film filled with a lot of zingers, but it also feels a little less personal than many of Assayas’ movies, perhaps in part because it’s not stuffed to the gills with songs he loves.

The Playlist by Gregory Ellwood

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

Screen Daily by Lee Marshall

The prolific French director clearly needed to breeze through this one – and the breeziness is infectious.

Variety by Jay Weissberg

This story of two couples dealing with change in their personal and professional lives, so packed with intellectual sparring, gets progressively lighter as it moves along, acknowledging the primacy of human interaction (foibles and all) over doctrine.

Screen International by Lee Marshall

The prolific French director clearly needed to breeze through this one – and the breeziness is infectious.

The Hollywood Reporter by Jon Frosch

There are chuckles and even guffaws throughout, though the comedy is streaked with despair, and also great tenderness. It’s the latest evidence of the director’s gift for tackling grave subjects with the lightest of touches; the film flows airily along, then knocks you off-balance with the weight of its insights and implications.

Los Angeles Times by Kenneth Turan

What makes Non-Fiction stand out is the adroit way it keeps everything in balance. The writing and the acting, the questions about contemporary society as well as personal relationships, they all exist in enviable harmony to create an incisive snapshot of the present moment.

Austin Chronicle by Josh Kupecki

While Non-Fiction can be quaint in its examination of art versus commerce, it is never boring.

Washington Post by Ann Hornaday

This is a handsome, hugely enjoyable movie that invites the spectators to reflect on precisely what they value, both on screen and off. “Is it good?” is a question repeatedly asked throughout Non-Fiction. When it comes to the myriad subjects at hand, the debate rages on. As for the movie itself, the answer is a resounding yes.

TheWrap by Alonso Duralde

As with “Summer Hours,” Non-Fiction traffics in ideas and concerns without handing out leaflets; first and foremost, this is an empathetic and charming character piece, featuring top-notch actors (Binoche revels in a rare opportunity to be funny) enjoying richly clever dialogue.

The Film Stage by Leonardo Goi

If the aftertaste is one of cinematic delight–the feeling of being invited to take part in those chats, not just to listen to them–credit goes to Assayas’ writing and a handful of phenomenal performances from the quartet and supporting cast.

IndieWire by David Ehrlich

Non-Fiction isn’t a surrender, nor is it a call to arms. It’s an anxious — but strangely calming! — reminder that change is the only true constant, and that steering the current is a lot easier than fighting it. Nobody does that better than Assayas, even when it looks like he’s not even trying.

Los Angeles Times by Justin Chang

[A] delightfully voluble new comedy.

Film Threat by Lorry Kikta

Non-Fiction is incredibly witty, fast-paced, and unmistakably French.

Slant Magazine by Jake Cole

Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.