The Hollywood Reporter by Todd McCarthy

Like a crafty predator, the Danish knock-out Holiday lays patiently in wait as long as it needs to — in this case nearly an hour — before stunning its prey, the spectator, with a shocking scene that catapults the film to a whole different level.

IndieWire by Eric Kohn

Holiday is a fearless work, anchored by Sonne’s bold, subtle performance, which keeps her motivation unclear until a burst of developments at the startling conclusion.

Variety by Guy Lodge

It’s a cool, hard trip, icy in the fullest glare of the afternoon sun, in which even the pallid, expensively tacky interior of the villa — hats off to production designer Josephine Farsø — invites tension and judgment.

Los Angeles Times by Kimber Myers

Eklöf doesn’t seem to care if you like her film or her characters — including the protagonist — and it’s this boldness that keeps you watching.

Screen Daily by Wendy Ide

Unfortunately some of the power of this resolutely unflinching drama is lost because Sascha is such a vacuous and shallow presence at the centre of picture.

CineVue by Alasdair Bayman

Through Eklöf’s ruthless observations on sex, class and family, one comes to view this world with a cold-blooded voyeuristic gaze.

The Guardian by Peter Bradshaw

There is no doubting the verve and style of Eklöf’s film-making – and the brutality from people on an open-ended holiday from ordinary human empathy.

The New York Times by Glenn Kenny

Because Eklof’s approach is formally very clean, showing some genuine, intriguing detachment, I’m apt to prefer it to Seidl’s work. But not by much.