Love

Sadly, without insight into the intimacy of communion, many of the conversations Haugerud brings to the fore end up laying a bit too close to the didactic.

Honest, thoughtful, and daringly talky as it observes modern dating customs in the age of apps, it deserves further exposure beyond the festival circuit.

With contemplative slow pacing that is leisurely rather than laborious, and Cecilie Semec’s clean, luminous camerawork... Love is a drama about choice, chance and the carpe diem imperative, especially in the face of illness and emotional distress.

It’s the rare romantic drama that concedes one person’s happily-ever-after is not necessarily another’s.

Profound and genuinely heartfelt. Like Eric Rohmer and Ingmar Bergman, Haugerud knows how to find the Spectacle within the Truth.

A dialectical film about empathy and afection where the romantic love does not work any more. Really interesting. [Full review in Spanish]

The film [ends] on a bittersweet yet hopeful note even as very few of the relationships shown have a traditional resolution. It’s incredibly lifelike, which is not always what you want in a movie, but that unusual ambiguity is Love's power. 


Haugerud is fascinated by his characters and lets his actors carry the weight of the film, allowing them time to explore, express themselves, and challenge each other in ways that don’t lead to conflict.

Norwegian helmer Dag Johan Haugerud has created a thought-provoking, mesmerizing queer-and-sex-positive gem with his fourth feature, "Love."...The film is audacious in its non-judgmental approach to different kinds of intimacy.

Employing the same sense of endearing, blunt loquaciousness which defined the earlier chapter, there’s an even greater level of profundity.