Avis des critiques

Saying that it makes these concepts “fun” or “accessible” is an overstatement, as “Harvest” can feel interminable even when a viewer is engaged with its ideas. But it does bring them to vivid, even bawdy, life.

The project is heavy with unostentatious ideas, but Harvest is most compelling visually—it’s rich with images of arms combing through tall, verdant grasslands, clusters of lofty clouds, shears tearing through wool.

“Harvest,”... is gorgeous and strange and a bit winding, though not unpleasantly so... It is dreamy, hazy and phantasmic, vacillating between extreme beauty and something approaching folk horror.

Athina Rachel Tsangari‘s Harvest is her most stylistically ambitious film since her debut The Slow Business Of Going, rendering the anarchic and naturalistic rhythms of rural feudal life into a meditation on the displacement of culture.

Landry Jones gives one of his finest performances to date...

If you want something visually stunning, you’ll find it here as the crackling film and rich colours of nature do that effortlessly. But if you want something more poetic, you’ll only get glimmers. If you want something wilder and more frantic, you’ll get moments that end all too soon.

Harvest is a fever-dream interpretation of the collision between incipient capitalism and the [villagers'] agrarian culture... Caleb Landry Jones is terrific as Walter... and he gets excellent support from Harry Melling... and Frank Dillane.

Tsangari taps into something ancient and unfamiliar, as if this story were a pagan relic dredged from the bottom of a loch. For all its arcane folklore, the film’s themes... are uncomfortably timely.

Harvest is disorienting as often as it is beautiful... This is no pastoral romance; on the contrary, it is a film steeped in the darkest impulses, the despair implicit in the natural world’s cosmic disregard for our fates and the cruelty inherent in human nature.

It's a strong [English language debut for Tsangari], building on its sources dreamlike uncertainties to make something that is perhaps less abstract than distilled... Sean Price Williams as cinematographer is working with film and that Kodak crunch becomes another layer of abstraction and realism in an uneasy border between the two.

Harvest is a film so tactile and so textured you can practically feel it through the screen, and indeed the frame itself flickers and lightly disintegrates around the edges, as though infused with the Highlands’ earthy detritus and fiery sunsets.

Tsangari’s film is punctuated by anxiety, violence, and absence, and in so doing evokes a sliver of time — between the feudal system and industrialization — in European history, one which has been since lost to privatization.