Critics reviews

Compelling as the narrative is, it’s Julie’s vacuousness, realized exquisitely by Binoche, that resounds most beautifully.

Binoche taps right into a cool, beguiling, divine feminine energy rarely seen on-screen, and slowly pours it into Julie's life.

This is a devastating film that is not based on contrived dialogue, but on subtle actions.

Palpably concerned with loss and regeneration, suffering and transcendence, Blue calls to mind some of the better late works of Ingmar Bergman in its powerful sense of dramatic concentration; it doesn't have quite the undertow of neurosis that presumably made those films so exemplary for Woody Allen, but it does have a much bolder grasp of the movements and vagaries of consciousness.

Binoche goes from banged-up to smashing, but rarely smiles or sheds her reserve. As the camera lingers, trying to get at the character’s innermost thoughts, filmmaker puts his faith in the planes of his leading lady’s face as few directors have since the silent era.