[Anna's] encounter with her mom, structurally and thematically the center of the film, is the closest the character comes to establishing a connection with another person. By contrast, her tryst with Cassel, boasting the most physical contact, is the most disconnected of her affairs. Hugely affecting, the picture is further proof of Akerman as the ultimate dissector of '70s European dislocation, sharper (though less well-known) than Wim Wenders.
Fernando F. Croce
juli 9, 2006