Philadelphia Inquirer by Desmond Ryan

A standout.

Austin Chronicle by Marc Savlov

That Aimée & Jaguar manages so well in triple duty as a wartime melodrama with a lesbian twist is remarkable.

San Francisco Examiner by G. Allen Johnson

A guilty pleasure and one of the best films of the year.

Entertainment Weekly by Lisa Schwarzbaum

Färberböck's sensual adaptation is a matter of fact embrace of the unconventional and dangerous during a terrible time.

Portland Oregonian by Kim Morgan

It's a first love story that goes beyond many simplistic notions as to why people fall for one another. If it weren't true, no one would believe it.

Seattle Post-Intelligencer by Paula Nechak

First-time feature film director Max Farberbock has given a terrific visual style, resonance, sense of hope and power to the material.

L.A. Weekly by Ella Taylor

A sophisticated and beautiful feature debut.

TV Guide Magazine by Ken Fox

A bold, remarkable film.

Film.com by Peter Brunette

Its series of quiet but moving realizations of the utter ubiquity of the Nazi horror in every single aspect of life, even something as hidden as a sexual sub-culture, is powerful indeed.

Mr. Showbiz by Michael Atkinson

One of the year's best imports and one of the very few queer movies that transcends its sexual orientation.

Christian Science Monitor by David Sterritt

Färberböck has directed the story with a canny blend of liveliness and taste.

Chicago Sun-Times by Roger Ebert

This is the kind of story that has to be true; as fiction, it would not be believable.

Baltimore Sun by Chris Kaltenbach

There's no denying the raw emotional power of this heart-rending story.

Washington Post by Stephen Hunter

A surprisingly lush, well-produced film.

Salon by Charles Taylor

A consistently engrossing piece of work.