Film Threat by Alex Saveliev

The Fam sensitively deals with a tough subject and serves as a striking introduction to a roster of formidable talent. It certainly feels like the cast and crew have become a true family during the shoot.

Empire by John Nugent

Bruising and beautiful in equal measures, La Mif is an impressive slice of social realist drama that feels rooted in something real — because it is.

The Observer (UK) by Wendy Ide

Mini-chapters focus on characters in turn, each offering a new perspective on the unfolding drama; choral and chamber music is an unexpected but effective punctuation in the storytelling, but most powerful is sound design that understands the gravity of moments of weighted silence.

CineVue by Christopher Machell

La Mif refuses to proselytise on the moral character of its subjects; Lora’s terrible confession to the girls at the film’s climax is played not for tabloid revelation, but as a final expression of the flaws inherent in ourselves and the systems we depend on to protect us.

Little White Lies by Leila Latif

There is a lack of catharsis in the conclusion which, to the film’s credit, feels apt. It’s a powerful story with no easy way forward for anyone concerned.

Time Out

La Mif (slang for ‘the fam’) is sensitively written and superbly acted. There are non-professional actors here who would put a few of their formally-trained counterparts to shame.

The Guardian by Peter Bradshaw

This is an engaging ensemble piece, acted with vehemence and sincerity, though it concludes a little melodramatically.

Time Out by David Hughes

La Mif (slang for ‘the fam’) is sensitively written and superbly acted. There are non-professional actors here who would put a few of their formally-trained counterparts to shame.