The Woman Who Left(Ang Babaeng Humayo)

The New York Times by A.O. Scott

The film makes uncompromising demands on your attention and your empathy. But it is also illuminating and, in its downbeat, deliberate way, exhilarating.

CineVue by Ben Nicholson

Its specific frame of reference sees it build to a bleak and powerful conclusion, if one devoid of much hope.

Slant Magazine by Carson Lund

It suffers by resembling arty, didactic bloat when it most begs for a more sophisticated dramatic touch.

Entertainment Weekly by Chris Nashawaty

The Woman Who Left may not be a movie for everyone, but if you allow yourself to settle into its leisurely tempo and marinate in its heroine’s journey, it can be a richly rewarding experience.

The Hollywood Reporter by Clarence Tsui

The Woman Who Left is an immensely immersive and engaging tale about a wronged individual's grueling struggle between reconciliation and revenge.

The Film Stage by Ethan Vestby

Highlighted by the black-and-white, The Woman Who Left is as nocturnal as the best noir, one of those films in which every transition from nighttime to daytime registers as a shock.

Variety by Guy Lodge

This occasionally transcendent opus finds Diaz’s formal powers — not least his own incisive monochrome lensing — at full strength.

The A.V. Club by Ignatiy Vishnevetsky

The film boasts one of Diaz’s most dramatically conventional, involving, and satisfying narratives.

Screen International by Jonathan Romney

At once over-repetitive and less surprisingly digressive than some of his other films, The Woman Who Left may not represent Diaz at his absolute peak, but it’s a powerful, thoughtful melodrama that pulls you into its world and delivers a number of irresistible emotional coups.

The Guardian by Peter Bradshaw

It’s a film you have to feel your way into, like a ruined church or a haunted house.