Critics reviews

Dhont's kinship with these boys' crisis of masculinity, however, does not translate into nuance, kindness, or verisimilitude... [Close] is a manipulative, misguided tromp through – not exploration of – mental health issues... Once again, Dhont seems to use LGBTQ+ stigmatisation to invoke hand-wringing rather than sympathy.

In an undidactic and subtle way, Close is a daring and revelatory film about the price boys pay as they gradually take on the costume of a societally endorsed masculinity... In less assured hands, the film might have morphed into a simpler, more overtly homoerotic account of a male romance gone awry, but Dhont has kept his focus wider.

A heartbreaking collision between childhood innocence and teenage angst... [Close] is described by Dhont and his actors with naturalistic restraint, and the film builds towards a devastating climax.

Astonishingly natural and engaging performances from young newcomers Eden Dambrine and Gustav De Waele lend heartfelt authenticity to [Close]... confirming Dhont as a deft and empathetic chronicler of the tumultuous anguish and ecstasy of adolescence.

A coming-of-age-story that’s exquisite and heart-breaking... [Close] feels sensuously instinctive, rather than plot-driven, as if the story is simply telling itself.

[Close is] very tenderly done and the acting, especially by the two boys, is wonderful.

[Close] has been described as manipulative. The director’s intentions seem entirely honourable, however. It’s more that, in the third act, things get a tad repetitive, overblown and ho-hum. Dhont’s better at starting stories than finishing them.

A beautiful, heart-wrenching film... [Close] is an authentic study of loss, buttressed by two extraordinary child actors, and complemented by a handful of impeccable adult players.

Close starts to paint in broader strokes as it goes on... Dhont’s visuals are strong and sumptuous and he coaxes spellbindingly naturalistic performances from first-time actors Dambrine and De Waele, but a gulf in tone separates both halves of his film.

Tempered by a deceptively simple plot and documentary-like intimacy, Close shoots for Boyhood-esque realism, and wins... That the film – unlike your average modern blockbuster, smugly teasing LGBTQ representation only to fudge it – distorts clarity around the boys’ relationship feels entirely right... The film’s LGBTQ subtext is so exquisitely indistinct as to barely be there at all.

[Close] is Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&Cs and Copyright Policy. Email licensing@ft.com to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https://www.ft.com/tour. https://www.ft.com/content/808846bd-16ac-4eb2-ab89-8b08c207ad68 one of the most heartbreaking films you’ll see this year. As if offering a balm, it’s also one of the most formally beautiful, full of scenes shot in the slant sunlight of magic hour, punctuated by stretches of ringing silence and whispering organ music... [It] is a film about loss but also healing, forgiveness and grace.

[Dhont's] young performers are heartbreaking and revelatory in their sadness – it’s hard to broadcast such deep emotion without losing an ounce of credibility... What makes Close shimmer is the beauty it finds in such a harrowing story.