'Haneke casts a characteristically unflinching eye at the gulf between city and country, civilisation and its dark underside' 'Huppert is typically superb, never rendering her character too sympathetically' 'Its moral severity and visual power make it bleakly compelling' Sukhdev Sandhu - THE DAILY TELEGRAPH (Cannes) 'This masterful film...keys into the current global climate of fear and uncertainty' 'In many ways the movie Haneke has been building toward' 'Haneke demonstrates profound insight into the essence of human behaviour when all humility is pared away...and man becomes more like wolf than man' 'Extraordinary final moments...' 'Driven by Huppert’s superb, largely wordless performance' Scott Foundas - VARIETY (Cannes) 'Challenging and demanding. As ever with Haneke, it’s extreme cinema without anaesthetic' Peter Bradshaw - THE GUARDIAN (Cannes) 'The first 15 minutes are among the most astounding achievements of Michael Haneke’s career...' 'Haneke... shows again his mastery in the visual department...using a spare, economical, precise visual language' Dan Fainaru - SCREEN INTERNATIONAL (Cannes) 'Rigorously realistic approach to material all too often compromised by cliched spectacle and sensationalism' 'Astonishing cinematography' 'The film demands an attentive curiosity from the viewer. It’s a strategy that had its rewards, not least the unexpected emotional force of the final two scenes' Geoff Andrew - SIGHT & SOUND (Cannes) 'If only all apocalyptic dramas were as intelligent as this' 'Excellent performances... Utterly, bleakly convincing' '... Small incidents shock, move and disturb us in a way that Hollywood and its special-effects team could only dream of' Peter Whittle - THE SUNDAY TIMES 'Isabelle Huppert, who is, as usual, brilliant' 'Evokes Lord Of The Flies, Heart of Darkness and European folklore to play mercilessly on our bourgeois fears... to produce strong, transfixing cinema' Jason Solomons - MAIL ON SUNDAY Great stuff from a great filmmaker' Paul Dale - THE LIST