San Francisco Chronicle by G. Allen Johnson

Deneuve has fun with her best role in years.

Original-Cin by Liam Lacey

Starring two grande dames of French cinema, Catherine Deneuve and Juliette Binoche, The Truth is a mistress-class in the art of French close-up acting, from the twitch of a dismissive eyebrow to a pout of disappointment.

TheWrap by Alonso Duralde

Kore-eda’s first film made outside his native Japan, it’s a fascinating exploration of the fallibility of memory and of how the truths we tell ourselves so frequently outweigh an empirical certainty.

Los Angeles Times by Robert Abele

Kore-eda furthers his storied reputation as an artist humanely attuned to what transpires between those who know each other all too well.

Wall Street Journal by John Anderson

Funny, wry, emotionally potent, and like most films by Hirokazu Kore -eda (“Shoplifters,” “Nobody Knows,” “After Life”) operates on multiple levels—usually some kind of domestic tragicomedy under which lies profound existential disquiet.

RogerEbert.com by Odie Henderson

The Truth doesn’t have very much of a plot. What little there is serves as a clothesline for its two excellent leads to hang their performances out to dry.

Boston Globe by Ty Burr

Using compassion and the slightest touch of syrup, Kore-eda brings his characters to a place where they realize with shock that they’re finally on the same page.

CNN by Brian Lowry

Playing an aging star estranged from her daughter might not seem like a major stretch, but Deneuve and Japanese writer-director Hirokazu Kore-eda (whose "Shoplifters" took top honors at the Cannes Film Festival) spin that premise into a cinematic breath of fresh air.

IndieWire by David Ehrlich

This wise and diaphanous little drama finds Kore-eda once again exploring his usual obsessions, as the man behind the likes of “Still Walking” and “After the Storm” offers yet another insightful look at the underlying fabric of a modern family.

Entertainment Weekly by Mary Sollosi

Because if anyone can handle The Truth, it's Deneuve. The French icon is as magnetic as ever, and she inhabits Fabienne (which is, incidentally, her own middle name) effortlessly, with a sly self-awareness that never undermines the fiction.

Variety by Owen Gleiberman

From first shot to last, it’s a film of high wit and confidence and verve, an astonishingly fluid and accomplished act of boundary-leaping.

Slant Magazine by Chuck Bowen

The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.

The Playlist by Jessica Kiang

There’s the potential for melodrama, but despite the misleadingly grandiose title, The Truth is not in the business of the grand, tormented revelation. Instead, it’s an accretion of little moments, often very funny, sometimes a little sad, but always embedded in the reality of these sharply drawn, idiosyncratic characters.

Screen Daily by Lee Marshall

A very European film of charm and wit that hits the occasional emotional high note, and sees Catherine Deneuve embracing her tastiest role since Potiche with verve and gusto.

The Hollywood Reporter by David Rooney

Deneuve's slyly self-satirizing performance ... ensures that The Truth remains a pleasurable entertainment.

CineVue by John Bleasdale

The truth is that The Truth is an above-average French comedy and Kore-eda has succeeded in a finely wrought act of ventriloquism and diva worship. But the Japanese director’s fans can be forgiven for thinking above average is not good enough for such an accomplished filmmaker.

The Telegraph by Robbie Collin

The film defaults to gentle comedy too often, and feels afraid to dig deep enough into its underlying themes to draw blood.

The Guardian by Xan Brooks

It’s handsome, it’s amusing, it knows exactly where it’s going. All that is missing is that crucial fifth gear.