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Un sujet intemporel et plus qu'actuel aujourd'hui. Je crois que si Ruben Ostlund avait supprimé les 15 dernières minutes, il aurait pu faire l'objet de fortes critiques en Suède en 2011. Pas sûr que la critique aurait été aussi sévère en 2023, quand la Suède se retrouve empêtrée dans des guerres de gangs liés à la drogue. Encore une fois, une approche originale qui n'ennuie certainement pas. Il y a juste ce berceau qui m'a tracassé tout le temps et je pense que je n'ai pas compris toute l'intrigue autour de cet élément, mais c'est un complément non essentiel. Excellente direction des jeunes (non-)acteurs ! (05/11/2023)

I can’t help myself, but when it comes to originality in filmmaking industry, I am really satisfied with Swedish cinematography. After the completely minimalist Day and Night, I got to see another Swedish gem, which again benefits from a static camera and in a rather uncompromising way introduces us to multiculturalism in Sweden. But what is unique about the film is that the way it is filmed prevents us from having a closer relationship with anyone. It is quite withdrawn, raw and very psychological. In fact, in the beginning you don’t root for anyone, you just watch what happens and try to get into the heads of all the characters. The finale then convinces you that there is no justice in this world, which made me feel a strong apathy, almost depression. Sweden has obviously fallen into a time when equality with immigrants is more than debatable. Any visible (but above all the justified ones) racist protests of Swedes against immigrants are subsequently punished. Why? Is it because the open borders started to backfire, and the Swedes began to really fear the foreigners? I can’t help myself, but this direction could easily lead to our doom. Sweden, as the exemplary European country with the most open borders, should quickly put its laws in order and the incoming immigrants should immediately start respecting them or something is going to happen really soon. (21/09/2014)

The audience's misunderstanding is very evident, and yet Östlund filmed one of the most accurate studies of Swedish society and its struggle with multiculturalism. At the same time, his sociology in the film is an analysis of the basic principles of social interaction, made up of carefully designed and thoughtful shots (quite possibly so thoughtful that some people confuse it with randomness). A remarkable, although quite cold and distant film. (06/07/2011)

A social drama about child migrants. Authentic cinematography and a strange atmosphere, unfortunately I expected the film to be more intense and gritty. Ruben Östlund is a director with his own signature, whose qualities I appreciate, but he didn't really hit my taste with this flick. Story****, Action>No, Humor>No, Violence*, Entertainment***, Music***, Visuals**, Atmosphere**, Suspense***. 6/10. (27/10/2020)

A nasty bit of play with the viewer on the subject of absolute wrongdoing. Indeed, the methods that the able-bodied bunch here carry out, for the sole purpose of fleecing three unfortunate kids, are so drawn-out and methodical as to amount simply to organized sadism, for which we are ignorant of any motivations save what we weave into the film ourselves. Then there is good old-fashioned racism on the one hand and inept apologetics on the other, whereas it is all only ex post since we are unable to respond to it when the wrongdoing is taking place in front of us. Östlund, in all the films I've seen from him, always presents some complicated problem, tries to illustrate all the positions that concern him, only to conclude by saying there's probably nothing that can be done about it anyway. I actually like that approach, but he's kind of an insufferable dick about it, tell me I’m wrong. Anyway, if you look around at how many weak-minded people this movie has served in confirming their own prejudices, at least we know who is to blame for the current over-cautious treatment of ethnic minorities in contemporary pop culture. (30/10/2022)