Time Out by Anna Bogutskaya

It explores love, both romantic and familial, with no trace of drama or sappiness, and without ever feeling slight. It’s a balm of a film and another glorious showcase for the director’s light touch when dealing with complicated emotions.

The Observer (UK) by Mark Kermode

Hansen-Løve hits a career high note, delivering a quietly thoughtful and ultimately life-affirming portrait of the strange interaction between loss and rebirth. It’s a miraculous balancing act that pretty much took my breath away.

Empire by Ian Freer

One Fine Morning is Mia Hansen-Løve on tip top form, drawing a fantastic lead performance from a never-better Léa Seydoux. Some flicks need a bearded assassin or ghostface killer to create drama. Hansen-Løve just needs the stuff of real life.

Original-Cin by Karen Gordon

The result is a quiet film that doesn’t push an agenda, doesn’t rush, doesn’t trade on sensationalized emotion, but leaves us space to engage with wonderful characters. There’s a feeling of intimacy and sense of connection, open-heartedness and good will that stays long after the movie ends.

San Francisco Chronicle by Mick LaSalle

Though One Fine Morning is low-key and flows easily from one scene to the next, it’s truly innovative and original. Writer-director Mia Hansen-Løve has cracked a code. She figured out how to make a kind of movie that other filmmakers would love to make but don’t know how.

RogerEbert.com by Monica Castillo

The scenarios of Hansen-Løve’s films can feel rarified and unique at first glance, yet they are painfully relatable on some level. They may be devoid of melodramatic showdowns, but there’s a quiet ferocity to them in the way they so deftly address our daily pain, insecurity, and loneliness, still resonating with us long after the movie’s over.

The A.V. Club by Timothy Cogshell

One Fine Morning is about people, family, friends, lovers, their disappointments, and their passions. It’s bitter and sweet, but mostly bitter. It’s lovely, but mostly not autobiographical.

Screen Daily by Fionnuala Halligan

Hansen-Love finds moments of truth in the melange, and Seydoux is transcendent, carrying a sadness inside which proves incredibly moving when the opportunity for love presents itself and she melts into it.

The Hollywood Reporter by Jon Frosch

In the quietly miraculous One Fine Morning (Un beau matin), writer-director Mia Hansen-Løve and her leading lady Léa Seydoux make the old feel new again.

Film Threat by Alex Saveliev

I can go on and on about the multiple tiny lightning bolts Hansen-Løve catches in her bottle. Arguably the biggest lightning she caught was hiring Seydoux.

The Film Stage by Rory O'Connor

Shot in gorgeous natural light by Denis Lenoir (the cinematographer on all but one of her films since Eden), and backed by a soundtrack of typically esoteric needle-drops, the director delivers her finest in years by doing what she’s always done best: a humanistic story of when to love and when to let go.

The Playlist by Carlos Aguilar

As Sandra, Seydoux puts forward a delicately incandescent performance portraying someone in an unstable state, whose conflicting emotions about what she can’t change overwhelm her.

IndieWire by David Ehrlich

Hansen-Løve has traced her own paternal grief into an illuminatingly honest sketch about how loss is necessary for rebirth, guilt inextricable from self-fulfillment, and the present worth savoring for its role in bringing the past and the future together — rather than as a buffer for keeping them apart.

Variety by Guy Lodge

It knows the fragility of quiet, which is sometimes the sound of inner peace, and sometimes, per that Prévert poem, the echoing unrest of an empty space.

TheWrap by Katie Walsh

Like a weaver on a loom, Hansen-Løve loops these moments together, threading small moments of thought-provoking social commentary throughout, revealing the larger picture only once the process is done, offering a snapshot of a moment in time, a profound and captivating portrait of love, lost, found, and ever-remaining.

The Telegraph by Tim Robey

Seydoux has unfakeable chemistry here with a perfect-as-usual Poupaud, the leading man in French cinema who seems most incapable of putting a foot wrong.

The Guardian by Peter Bradshaw

For all its tendency to soap opera, it has a lovely happy-sad sweetness.