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The Cut

✭ ✭ ✭   Read critic reviews

Germany, France, Italy · 2014
2h 18m
Director Fatih Akın
Starring Tahar Rahim, Simon Abkarian, Arsinée Khanjian, Akin Gazi
Genre Drama, History

Nazaret, a young blacksmith and father, survives the Armenian Genocide. Having lost his family and his ability to speak, he struggles to rejoin society. When he learns that his twin daughters may still be alive, he sets off on a years-long journey to find them.

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What are people saying?

What are critics saying?

16

Hitfix by

There isn't a sense in the film of this tragedy as a systematic, organized atrocity affecting millions.

70

Village Voice by Alan Scherstuhl

Ultimately, the film's wearying qualities pay off both as verisimilitude — you do feel like you've been through something — and as awe-inspiring history, making visceral art out of a global migration.

50

Slant Magazine by Carson Lund

Fatih Akin falls back on convenience and contrivance to streamline the thornier specificities of his grand-scale narrative.

40

Variety by Jay Weissberg

The script, co-written by vet Mardik Martin, is pedestrian, and the mise-en-scene, striving hard for a classic Hollywood look, lacks grandeur, notwithstanding impressive location work.

42

The Playlist by Jessica Kiang

The story is bloated and episodic (the film's 2h 18m length doesn't help the pacing), and remarkably unengaging for what should be emotionally epic.

60

CineVue by John Bleasdale

A well-behaved and unashamedly populist film, the kind that could be shown in schools and community centres, Akin's The Cut remains an undeniably important film regardless. What it does extremely well is to movingly illustrate a terrible moment in history which has been sadly neglected in the West and actively suppressed in other parts of the world.

50

The A.V. Club by Nick Schager

The director’s assured tracking shots follow Nazaret through one bustling, disorienting locale after another as he searches for help, family, and relief from his hardship. Yet like the film, they’re ultimately superficial gestures that maintain a detached perspective on their subject, incapable of penetrating his traumatized mind and tormented heart.

60

The Guardian by Peter Bradshaw

It’s a big, ambitious, continent-spanning piece of work, concerned to show the Armenian horror was absorbed into the bloodstream of immigrant-descended population in the United States, but it is a little simplistic emotionally.

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