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AFTER THE STORM
"[A] classic Japanese family drama of gentle persuasion and staggering simplicity.... [T]he filmmaking is so exquisite and the acting so calibrated it sticks with you."
- Deborah Young, The Hollywood Reporter
"**** [E]ven long-standing fans of the Japanese filmmaker might be taken aback by the supreme subtlety of his latest, achingly beautiful ode to the quiet complexities of family life."
- Robbie Collin, The Daily Telegraph
"**** The performances are brilliant throughout the ensemble and the script is full of great one-liners. After the Storm is undoubtedly one of Kore-eda's best."
- John Bleasdale, Cine-vue.com
"Sometimes a simple premise leads to deep results. Such is the case with "Glory" ("Slava"), Buglarian directors Kristina Grozeva and Petar Valchanov's stirring third feature, which plays like a parable that keeps expanding its themes. "
- Eric Kohn, Indiewire
"Kristina Grozeva and Petar Valchanov have a rare ability to make gripping, politically charged drama that is entirely accessible. "
- Allan Hunter, Screen Daily
"Shot with flexible naturalism . . . the film quietly builds to a feeling of inexorable disaster, guided by terrific performances as well as spot-on editing. "
- Jay Weissberg, Variety
"The film stands as an imposing monument to the memory of a great artist."
- Dan Fainaru, Screen Daily
"Built on a classical narrative structure, Afterimage really puts the emphasis on its remarkable lead actor, Boguslaw Linda, a legendary performer in Poland, who has, in the past, starred in films by the country's greatest directors."
- Dorota Hartwich, Cineuropa
"Afterimage is as elegantly assembled as all of Wajda's work: beautifully lit, tastefully art-directed, and handsomely shot by Pawel Edelman, who was Oscar-nominated for his work on Polanski's The Pianist. "
- Stephen Dalton, The Hollywood Reporter
"The reliably interesting Emmanuelle Devos brings complexity to this sleek, Chabrol-like story of a mother's revenge mission."
- Guy Lodge, Variety
"A mother's haunting grief propels her on an obsessive quest for answers and possible revenge in Moka, a mournful, slow-burning psychological thriller adapted from the 2006 novel by Tatiana de Rosnay. Frederic Mermoud's return to feature films...has a strong affinity with the writing of Patricia Highsmith and the films of Claude Chabrol and should appeal to an audience seeking moral complexity in their thrillers..."
- Allan Hunter, Screen Daily
"A classy and classical psychological thriller."
- Boyd van Hoeij, The Hollywood Reporter
"[M]asterful performances. [T]his tale approaches a family's flawed construct with the critical seriousness of Robert Bresson or Fukada's compatriot Nagisa Oshima."
- Maggie Lee, Variety
"[C]ommands attention from start to finish. The film's insights into the isolation evident in the relationships most take for granted â€” marriages, parent-child connections and long-term friendships â€” don't merely hit their targets; they smash them with a sledgehammer."
- Sarah Ward, Screen Dailly
"...deeply involving and uncannily affecting..."
- Jessica Kiang, The Playlist
"[An] intelligent and universally resonant crowd-pleaser..."
- Alissa Simon, Variety
"**** Hrebejk and Jarchovsy deftly employ humour as a way of mocking and undercutting their anti-heroine while preventing their overall point about power and corruption from becoming preachy. "
- Amber Wilkinson, Eye for Film
"Effectively transposing ൔ Angry Men" into the most intense PTA meeting of all time, Jan Hrebejk's "The Teacher" is a sardonic, richly seriocomic morality play..."
- David Ehrlich, Indiewire