Eleştirmen yorumları

Straub and Huillet thread individuals into a grander formal tapestry that is wholly theirs, co-opting the presences of these people without actually tampering with their exact words and histories.

Too Early, Too Late represents the most striking use of "Straubian shots" in their work, and in some ways incarnates a "Straub-Huillet pur"... The film has become totemic of Straub-Huillet's work, and even the title – which most directly refers to the revolutionary moment as coming too late to the First World and too early to the Third – has generated a diverse range of critical/theoretical reverberations.

Central to the unique impact of Too Soon, Too Late is the resonance it gives to specific places, particularly in the second part; no other film has come even remotely close to making me feel I've been to Egypt, which this film does.

No actors, not even characters. If there is an actor in TOO EARLY, TOO LATE, it's the landscape. This actor has a text to recite: History, of which it is the living witness. The actor performs with a certain amount of talent: the cloud that passes, a breaking loose of birds, a break in the clouds; this is what the landscape's performance consists of. This kind of performing is meteorological. One hasn't seen anything like it for quite some time. Since the silent period, to be precise.