Writer/director/star Eva Victor has created a poem about the pain and absurdity of entering and continuing adulthood, even when things feel heavy and hopeless.

~ Jeremy Mathews -

The “star player” is the director of photography Rui Poças

~ Marko Stojiljkovic -

An impressive exercise in world creation.

~ Amber Wilkinson -

Strongly elemental.

~ Amber Wilkinson -

When things happen, the director pays close attention to Cyrus’ reaction, with Kerr nailing a range of mixed emotions his character experiences

~ Amber Wilkinson -

Krieps operates at her usual level of greatness, and Anna Cazenave Cambet does her a favour by putting her in the spotlight.

~ Marko Stojiljkovic -

Animator Momoko Seto primarily deserves praise for imbuing each seed with a distinctive personality so that although the film is without dialogue we always know which of our adventurers we’re observing.

~ Amber Wilkinson -

By any technical measure, G.B.H. is a terrible film. It’s also tremendous fun to watch.

~ Jennie Kermode -

Flitting from scene to scene with an increasing disregard for the constraints of logic, the film beguiles hesitant viewers with its gorgeous sets and costumes.

~ Jennie Kermode -

Shooting on film, using live footage of a bull jumping event, even the directors didn’t know how it would end.

~ Jennie Kermode -

It really looks impressive when you bear in mind that all the cast and crew had to eat during much of the shoot were the coconuts they managed to knock down from trees.

~ Jennie Kermode -

The anonymity of the landscape adds to the sense of alienation from normal landmarks, physical and metaphorical, that often accompanies war.

~ Jennie Kermode -

Successful films like this are few and far between, whilst the genre is littered with the bones of those that didn’t make it.

~ Jennie Kermode -

Incisive and thorough.

~ Jennie Kermode -

The film looks amazing, but it sounds even more incredible.

~ Richard Mowe -

There’s a fairy-tale element to this – and once the famous names start to be introduced, including Sarah Bernhardt, it becomes obvious it’s no history lesson – but that suits the crowdpleasing material well.

~ Amber Wilkinson -

It’s not a particularly sophisticated parable, but it doesn’t need to be. The central performances are strong and the bond between father and daughter feels real even when other elements do not.

~ Jennie Kermode -

Although writer/director Rohan Kanawade grew up in the city, there is a deep sense of authenticity about the village setting, and the whole film is handled with a rare degree of sensitivity.

~ Jennie Kermode -

It is precisely Diana’s lack of intellectual sophistication that makes her interesting.

~ Jennie Kermode -

On the technical level, Jacques Girault’s usually hand-held cinematography keeps the immediacy of associated with that choice, but never slips into “chaos cinema” shakiness.

~ Marko Stojiljkovic -

Successful films like this are few and far between, whilst the genre is littered with the bones of those that didn’t make it.

~ Jennie Kermode -

Incisive and thorough.

~ Jennie Kermode -

Why should a story about two angels who have been hanging around Wisconsin for aeons, bored rigid, and wanting to go home, be understandable?

~ Angus Wolfe Murray -

It is precisely Diana’s lack of intellectual sophistication that makes her interesting.

~ Jennie Kermode -

If it wasn’t for the excellent, immersive sound design from Chu-Li Shewring, you could easily believe you were watching a piece of silent movie found footage.

~ Amber Wilkinson -

I laughed, and was not alone in doing so, out loud, and repeatedly.

~ Andrew Robertson -