Avaliações do Metacritic

Trier's compassion for what it takes to survive, mixed with the love he bestows on Oslo, is rewardingly profound.

The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.

Trier doesn't allow the bleakness of the material to swamp the film in a miserablist tone, but he doesn't hold back, either, in revealing every hairline crack in Lie's fragile psyche.

Talented Norwegian Joachim Trier - distant cousin to the better-known (and Danish) Lars - delivers a wonderful, melancholy character piece that's funny and tender, and as fresh as a breath of Oslo sea air.

Crosses the blood-brain barrier like … like … whatever the drug is, I haven't tried it, thank God. The movie eats into your mind - ­slowly.

An intelligent and resonant work from Norwegian director Joachim Trier, a movie that yields up its meanings and implications slowly.

Organizing the mercurial emotions and tics is director Joachim Trier, making good on the promise of his 2006 feature debut, the lit-related drama Reprise. This one's even better-it's about the honesty that often takes root in survivors, a rarely explored subject-but Oslo, August 31st is not an easy film.

Matching the precision of the film's title, remembrances of things past-whether destructive or salutary, quickly mentioned or dilated upon-are shaped by just enough exacting detail.

Trier's voice and vision, are thrillingly unique. His ever-searching camera, which never stops moving, takes us into places we've never been, know too well and won't soon forget.

Anders Danielsen Lie gives a compelling, deep-etched lead turn, and you'll find yourself drawn in as he searches for a reason to continue living.