63
Metascore
9 reviews · Provided by Metacritic.com
- 80The New York TimesJeannette CatsoulisThe New York TimesJeannette CatsoulisRigorously structured and glacially paced, this sophomore feature from Andrea Pallaoro (after his 2015 family tragedy, “Medeas”) is a minimalist portrait of brutal isolation and extreme emotional anguish.
- 80The GuardianPeter BradshawThe GuardianPeter BradshawIt is a haunting portrait of emotional undeadness.
- 75Washington PostWashington PostThe veteran English actress, 72, a onetime femme fatale who has matured into a peerless performer, gives a first-rate lesson in the art of acting, as a woman crumbling under duress after her husband is incarcerated. And yet the Belgian-set drama, by Italian director Andrea Pallaoro, could also be called self-indulgent, plodding and minimalist, in a big way.
- 70Los Angeles TimesSheri LindenLos Angeles TimesSheri LindenRampling, a Modigliani of long-limbed litheness with a face built for sorrow, inhabits the role and the visual compositions so deeply that the character resonates long after the film has ended.
- 50The Hollywood ReporterDavid RooneyThe Hollywood ReporterDavid RooneyCharlotte Rampling gives an emotionally rigorous display of bruising internalization, without an ounce of vanity, in the title role of Hannah. But although the lead performance commands admiration, the overall impact of this unrelentingly dour account of a woman struggling to carry on with her life after her husband's imprisonment is dulled by its distancing approach.
- 50Arizona RepublicBarbara VanDenburghArizona RepublicBarbara VanDenburghAndrea Pallaoro’s frigid portrait of a woman in crisis is more a calculated exercise in formalism than an achievement in storytelling. His well-composed images of loneliness are cerebrally satisfying but lack emotional heft.
- 38RogerEbert.comGodfrey CheshireRogerEbert.comGodfrey CheshireThere is a real seed of dramatic possibility in Hannah, but Pallaoro smothers it beneath the lacquer of the film’s fastidiously mannered minimalism.