Metacritic reviews

The film is yet another of Phillippe Garrel's densely anecdotal studies of romantic fidelity.

Garrel has the touch of a wiser man not taking judgment on his characters’ youthful foibles, where setbacks are to be embraced and learned from rather than experiences discarded from memory.

There are wonderful, quintessentially French flourishes scattered throughout.

The film benefits from the collective contributions of four screenwriters...whose collective insights result in a beautiful complexity.

If Garrel’s recent films (which also include In The Shadow Of Women and Frontier Of Dawn) play like variations on a theme, this one at least varies more than usual.

The screenplay...is very good in its many observational scenes, which here are more straightforward and less laced with irony and dark humor than in Women.

There are times when the characters — and their director — surprise and genuinely delight.

The always-understated director never mines the domestic situation for excessive melodrama, instead opting to step back and wryly examine the three leads’ contradictory impulses.

The plot alone of this elegantly shot black-and-white import shares the Woodman’s affection for variations on lusty middle-age man who beds — and tutors — an adoring decades-younger nubile conquest.

The scenario almost seems an apologia for the film’s own subject matter, crafted with the awareness that audiences have outgrown the May-December trope.