IndieWire by Sophie Monks Kaufman

Some viewers may be frustrated by the opaque way all threads are resolved. To the end, Mysius retains the sense of her film being a glistening and mysterious object, you can watch but can’t touch. Yet this intact mystery flows from themes too vast to ever be rendered fully transparent: young girls are prescient and love is fate.

The Film Stage by Alistair Ryder

It’s a deeply transfixing sophomore feature that, beneath genre artifice, tells a much more direct tale of familial bonds than her debut. Overlook the mysterious time-traveling conceit and you’ll find an irresistibly prickly drama about family and generational trauma.

The Playlist by Elena Lazic

The Five Devils feels like the inevitable encounter of indestructible drives, which send sparks flying both when they are satisfied and when they are denied.

Time Out

For all its structural ingenuity, The Five Devils is fundamentally a love story, and a surprisingly affecting one, largely due to a captivating central performance from Exarchopoulos, who, a decade after becoming the youngest ever winner of the Palme d’Or (for Blue is the Warmest Colour), gives a performance of such nuance and sophistication, the rest of the adult cast struggles to keep up.

The New York Times by Beatrice Loayza

Smell is perhaps the most opaque of the five human senses; the one that’s hardest to put into words. No wonder it’s key to the uncanny intrigues of the film, part queer love story, part supernatural psychodrama, by the French director Léa Mysius.

Original-Cin by Liam Lacey

In the end, there’s insufficient emotional pay-off or psychological insight here to justify the credibility-defying tricks and narrative convolutions. But the kid is adorable and Exarchopoulos, as the hot and cold Joanne, is believable at every moment, in a film more attuned to mood and sensation than literal meaning.

Slant Magazine by Jake Cole

The film is a thorny exploration of how individuals’ personal ordeals can quickly merge into an impenetrable thicket of irreparable relationships.

Screen Daily by Lee Marshall

Buoyed by two outstanding performances – from Adèle Exarchopoulos and first-time child actress Sally Dramé – and shot in ravishing 35mm, The Five Devils is a finely-crafted drama-genre hybrid, let down only by the fact that the story is a lot less interesting than the themes it carries.

The Hollywood Reporter by Jordan Mintzer

Mysius goes all out here, but her film overshoots its target by a few miles, even if the mise-en-scène is inspired and lead Adèle Exarchopoulos excellent as always.

The Guardian by Peter Bradshaw

Somehow it doesn’t all come together, delivering neither the stab of actual fear nor the satisfaction of real, plausible psychological insight.