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मेटास्कोर
8 समीक्षाएं · द्वारा उपलब्ध कराया गया Metacritic.com
- 90ColliderAnna MillerColliderAnna MillerWhen the Light Breaks recognizes there is somewhat of a delicate yet feral nature that humans exude while in the throes of anguish. Gone is the poise and self-control we put on with our clothes for the world each day, and out emerge some of the most animalistic qualities we regularly stifle.
- 80The Hollywood ReporterLovia GyarkyeThe Hollywood ReporterLovia GyarkyeAn appreciation for grief’s minor moments coupled with a striking visual language elevate this slender drama. Runarsson is attuned to the details of loss and recognizes the narrative power of these instances. He lingers where others might cut, hordes what, at first, seems disposable and homes in on the familiar long enough to render it uncanny.
- 80Screen DailyFionnuala HalliganScreen DailyFionnuala HalliganNewcomer Hall strikes a real presence. She’s posed a lot, it’s true – against the sun, the rust-coloured sheets of Diddi’s bedroom, the doggedly brown bar in which she works – but she’s as bright as the light of summer in Iceland, and her character seems just as likely to survive this problematic present.
- 80The Irish TimesTara BradyThe Irish TimesTara BradyComposed of small gestures and unspoken truths, it’s a bonsai miniature of the vastness of overwhelming grief.
- 75IndieWireAdam SolomonsIndieWireAdam SolomonsWhen the Light Breaks is the rare film that might benefit from being a good deal longer. It’s certainly well made and has enough to say to have been assured of this critic’s goodwill for quite some time longer, and might have been able to explore the messy implications of its premise in an even more interesting way.
- 60The GuardianCath ClarkeThe GuardianCath ClarkeThe two women’s scenes together give the film its most interesting moments.
- 60The TimesKevin MaherThe TimesKevin MaherThe writer-director Runar Runarsson makes a virtue out of this narrative simplicity, however, and delivers the equivalent of sweetly moving “slow” cinema, where we get to luxuriate in the characters for long, long, sometimes wordless takes, and to find in the exemplary performance of the relatively new and untested Hall a heartbreaking expression of hidden grief.