Critics reviews

The epilogue undermines the persuasiveness and credibility of the director's good heart. Suddenly, touches of utopian and fantastic feminism, environmentalism (more precisely, tolerated inter-species romance) and rightful drastic punishment appear as last minute flourishes rather than central concerns. Humanity will have to wait if it wants another, more credible Testament.

There's a lovely abrasiveness to the film's most trenchant humour and, at times, especially in the 'Genesis' section, the sheer grace and simplicity of the visual absurdism are quite breathtaking.

Instead of trying to nail down the specific new doctrine suggested by the film's title, Van Dormael and co-writer Thomas Gunzig delight in comic meanderings and visual flights of fancy.

While the Amélie-style twee got a tad grating, The Brand New Testament was an enjoyable way to open, and perhaps more weighty for Polish audiences – a country where over 90 per cent of the population identify as Catholic (the highest proportion in the world).

Van Dormael's best film in more than 20 years.