Metacritic reviews

Although the plot might sound like the stuff of a soap opera, a smart script, strong performances and an ideologically determined lack of filmmaking niceties result in a shattering, deeply felt work.

The Dogme pedigree rarely distracts; there is too much emotional investment to care much about dogmatic fidelity.

While the characters lack the quirks and affectations that have enlivened the impulsive figures from past Dogme films, the passion of the players and Bier's sensitive direction give these utterly normal figures a vivid aliveness, along with dignity and everyday beauty.

Well-made film. Indeed, discovering such a small pleasure is the kind of experience that rewards film lovers who browse with open eyes as well as hearts.

A very good new Dogme by Danish director Susanne Bier, begins with several lives in excellent working order, and proceeds by way of domestic tragedy to a full-court emotional train wreck.

However schematic, the movie percolates with immediacy and genuine warmth.

Bier knows what she's doing, and the performances are expert and affecting. But this meditation on love -- and love's bad timing -- is also improbably accommodating to its characters' respective longings.

Open Hearts, like all good melodramas, is ruthless in its insistence that people are dragged, uncomprehending, in the wake of events.

In the film's most audacious break with the ultra-realism of the Dogme program, Bier inserts grainy visualizations of what Cecilie wishes for at a given moment -- a caress from the paralyzed Joachim, or a wave goodbye -- directly into the action.

Less Spartan than some films shot under the Dogma "vow of chastity" (there's actually a little music), but it's raw enough to complement the very real emotions on display.