---
title: "CODA"
year: 2021
kind: "film"
canonical: "https://film.one/film/coda"
fi1m_score: 72
critics_score: 74
critics_reviews: 23
published: "2026-09-20T08:09:51.669921+00:00"
updated: "2026-09-20T08:09:52.366143+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# CODA (2021)

Directed by Siân Héder · 1h 52m · MPA PG-13 · Drama, Music, Romance

**Fi1m score: 72** · Critics 74 from 23 reviews

*In a sentence:* A working boat, a loud deaf family and a school choir; the plot is off the shelf, the people are not

> Siân Héder’s remake of a French crowd-pleaser is warm, well acted and almost entirely predictable. The Rossi family, played by deaf actors and led by a superb Troy Kotsur, is worth your evening; the story built around them could have been ordered from a catalogue.

## Synopsis

Ruby Rossi (Emilia Jones) is the only hearing member of a deaf family in a Massachusetts fishing town. Before school each morning she works the boat with her father Frank (Troy Kotsur) and her brother Leo (Daniel Durant), then spends the rest of the day interpreting for them and for her mother Jackie (Marlee Matlin) at the fish market, at the doctor’s and across the kitchen table. Wholesale prices are falling and the family business is close to the edge. Ruby joins the school choir to be near Miles (Ferdia Walsh-Peelo), and the choirmaster, Bernardo Villalobos (Eugenio Derbez), hears a voice worth training and starts talking about Berklee College of Music in Boston. Ruby wants to sing. Her family needs her on the dock, and cannot hear why she would leave.

## Review

Ruby Rossi (Emilia Jones) is up before dawn, hauling nets off the Massachusetts coast with her father Frank (Troy Kotsur) and her brother Leo (Daniel Durant), singing to herself over the engine because nobody on the boat can hear her. She is the only hearing member of a deaf family, and the family runs, in large part, through her: she interprets for her mother Jackie (Marlee Matlin) at the fish market, at the doctor’s and anywhere else a hearing world needs handling. Then she follows a boy, Miles (Ferdia Walsh-Peelo), into the school choir, and the choirmaster, Bernardo Villalobos (Eugenio Derbez), hears something and begins saying the word Berklee. Siân Héder, who wrote and directed, has taken the plan from the French film *La Famille Bélier* and moved it to a working boat. The plan is the least interesting thing about the film.

You can see every turn coming from the first ten minutes, and it matters less than it should. *CODA* is a warm, well-made, thoroughly predictable film whose family scenes are good enough to carry the rest. We would recommend it to anyone who wants to be moved and does not mind being steered a little on the way.

The Rossis are the reason to watch. Kotsur plays Frank as a loud, randy, stubborn man who thinks he is funnier than he is and often is. Matlin’s Jackie is vainer and sharper and keeps score. Durant’s Leo, the older child who is never asked to interpret because he cannot, carries a resentment the film is honest about. They argue in sign at speed, and Héder holds on those arguments with subtitles and no spoken voice, sometimes for whole scenes, trusting us to keep up. Paula Huidobro shoots the boat in flat early light and the house in warm clutter, Diane Lederman has filled that house with the mess of people who actually live in it, and Brenda Abbandandolo’s costumes are oilskins and old hoodies; nobody looks dressed.

The scene that got us is a small one. Frank, who has never heard his daughter sing, asks her to do it for him in the cab of the truck, and when the sound means nothing to him he puts his hand on her throat and reads her that way. Kotsur’s face does the rest. We were not ready for it, and we suspect the film did not earn it so much as Kotsur simply handed it over. There is a companion moment at a school concert where Héder drops the sound entirely and leaves us where the parents are, watching a hall react to something we cannot hear. It is the boldest thing in the film and it lasts about a minute.

What does not work is most of the plot. Héder piles it on: an observer aboard the boat, a row with the wholesaler Tony Salgado (John Fiore), a new venture on the dock, a boyfriend, a duet, an audition, all landing in the same few weeks and each resolved by the following scene. Derbez’s teacher is a stock eccentric, all flourishes and pep talks, and the choir rehearsals have the shape of a montage even when they are not one. Marius de Vries mostly lets the soul standards do the work, which is right, but the score underneath the family crises nudges us towards the intended tear. Geraud Brisson cuts briskly, which keeps the 112 minutes moving and also means the hard scenes are hurried past before they can hurt.

There is a larger problem, and Leo names it. In one of the best scenes, he tells Ruby the family was fine before she was born and that it is the hearing world that should learn to deal with them. He is right, and the film knows he is right, and then it carries on being a film about the hearing girl. The deaf characters get the funniest lines and the best acting and not the story.

Against the run of teenage-talent films, the ones with a working-class kid, a gruff parent and an audition in a big city, it sits comfortably in the upper middle. It is better than its French source because the deaf roles are played by deaf actors, and you can see the difference in every exchange.

It is a 12A, and the certificate is doing some work: the Rossis’ sex lives are discussed in detail, in sign, at the dinner table, and Ruby has to translate. Watch it with your family if your family can take that. Ours laughed, then went quiet at the truck, which we suspect is the order Héder intended.

*Fi1m score 72, published 20 September 2026.*

## What the critics say

Most critics like CODA. Nearly every review singles out Emilia Jones as the hearing daughter of a deaf fishing family, several calling it a breakout performance. The other point of agreement is the casting of deaf actors as the parents and brother: critics find the family scenes, and the long arguments conducted in sign language, the film’s strongest material, and Kotsur’s brash father draws warm notices. Most are happy to call it a crowd-pleaser that works its formula well.

The reservations cluster on that formula. Many reviews note contrivances, piled-on crises and a sentimental streak; the words corny and manipulative recur, usually followed by “but effective”. The spread is fairly narrow, with most scores between seventy and ninety. The dissenters go further: The Telegraph finds it too cute and sitcom-like, and Slant thinks it saccharine. Both The Telegraph and The Guardian also question a film about a deaf family that keeps its attention on the hearing member.

### Reviews we read (23)

- **The Hollywood Reporter**, Jon Frosch (90/100, inferred): The critic finds CODA a radiant, deeply satisfying heartwarmer that embraces its formula with pleasure and pureness. They single out the performances, particularly Emilia Jones, and the director's delicate handling of familiar tropes for praise. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/coda-film-review-sundance-2021-4123428/)
- **The Times**, Kevin Maher (★★★★☆): The critic hails a revelatory performance from Emilia Jones as the hearing daughter in a deaf family, noting the film’s vivid sense of place and authentic casting of deaf actors that adds layers absent from the French original. It praises the exploration of the family’s world and the emotional depth in sign-language arguments. [Read](https://www.thetimes.com/culture/film/article/coda-review-all-the-signs-suggest-emilia-jones-is-a-star-3jwhc9g7b)
- **IndieWire**, Kate Erbland (B+): It is a crowd-pleaser that works its formula well while breaking new ground with its deaf family characters. The star-making turn from Emilia Jones anchors the familiar coming-of-age tale. [Read](https://www.indiewire.com/criticism/movies/coda-review-deaf-family-sian-heder-1234611269/)
- **Radio Times**, Kevin Harley (4/5): Heder’s smartly judged crowd-pleaser distinguishes familiar coming-of-age conventions with salty wit and feeling, led by an appealingly awkward Emilia Jones performance that earns its emotional climax. The deaf actors deliver warm, ribald work as the loving parents. [Read](https://www.radiotimes.com/movie-guide/b-zxoni7/coda/)
- **The AV Club**, Noel Murray (B): Despite piling on crises and contrivances, the film moves viewers with its emotional beats and standout cast of deaf actors. It offers an original perspective on coming-of-age through the CODA experience, excelling in subtle details rather than melodrama. [Read](https://www.avclub.com/this-years-big-sundance-winner-coda-is-moving-in-spit-1847457158)
- **Vulture** (75/100, inferred): CODA is an occasionally corny but very effective family dramedy that shines in its portrayal of the Rossi family's dynamics. The scene where Frank feels Ruby's singing vibrations is highlighted as a knockout. [Read](https://www.vulture.com/article/coda-movie-review-sundance-film-starring-emilia-jones.html)
- **Empire**, Ian Freer (70/100, inferred): The critic finds the film two parts raw and real, one part manipulative, with engaging characters and real emotions in a hackneyed narrative arc. They single out the textured, vibrant family dynamics and Emilia Jones's terrific performance for praise. [Read](https://www.empireonline.com/movies/reviews/coda/)
- **Financial Times**, Leslie Felperin (★★★☆☆): The critic finds this Massachusetts-set remake a bit better than the French original thanks to smart casting of deaf actors in deaf roles, delivering a nuanced study of growing up as a CODA in a working-class fishing family. It praises the director’s adroit handling of family dynamics and bureaucracy subplots alongside the protagonist’s singing talent. [Read](https://www.ft.com/content/ec1aa69a-6bd8-41e9-84b1-41b3386749ac)
- **Los Angeles Times**, Glenn Whipp (70/100, inferred): Heder is adept at establishing the emotional bonds in the close-knit Deaf family, making the familiar coming-of-age conventions work. The seamless integration of spoken English and subtitled ASL highlights the family’s vibrant dynamics and raises the stakes for Ruby’s choices. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-08-12/coda-review-apple-tv)
- **Screen Daily** (70/100, inferred): The Sundance review describes a charming, crowd-pleasing coming-of-age story about a CODA balancing her singing ambitions against family responsibilities. It praises the nuanced family dynamics and Heder’s affection for the characters while noting some contrivances and sentimentality. [Read](https://www.screendaily.com/reviews/coda-sundance-review/5156481.article)
- **Sight and Sound** (70/100, inferred): The critic calls the film a manipulative but warmly crowd-pleasing coming-of-ager whose good vibes come from its lovable deaf family at the centre. Heder avoids turning it into an issues movie but ends up soft-pedalling the challenges of ableism. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/coda-sings-feel-good-crowdpleasing-familiar-tune)
- **The Guardian** (70/100, inferred): The critic finds it warm, fuzzy and feelgood but a little formulaic, a crowd-pleaser that braids a coming-of-age tale with timely representation of the deaf community by casting deaf actors in those roles. It praises Emilia Jones’s sincere, note-perfect lead performance and grounded musical moments while noting the story still filters deaf experiences through its hearing protagonist. [Read](https://www.theguardian.com/film/2021/aug/15/coda-review-hearing-daughter-deaf-parents-drama-sian-heder-sundance)
- **The New York Times**, Jeannette Catsoulis (70/100, inferred): The film’s openhearted embrace of deaf culture elevates an otherwise conventional tale of a talented teenager caught between ambition and loyalty. Ruby is the lone hearing member of her rambunctious family and must balance interpreting for them with her desire to sing. [Read](https://www.nytimes.com/2021/08/12/movies/coda-review.html)
- **Time Out**, Phil de Semlyen (3/5): The review finds the Sundance breakout warmhearted and likeable with real heart for the deaf community but short on surprises and falling short of comparable festival hits. It singles out the soundless perspective sequences and the expressiveness of sign language for praise. [Read](https://www.timeout.com/movies/coda)
- **Slant Magazine** (2/4): The film edges into the saccharine with its inspirational formula and banal sermonizing, shortchanging textured moments. It is most moving in capturing bonding rituals among the deaf family. [Read](https://www.slantmagazine.com/film/coda-review-sian-heder/)
- **The Telegraph**, Tim Robey (2/5): The critic calls it well-intentioned but too cute and sitcom-like, making every easy choice and obsessing over raunchy family gags instead of taking risks like Sound of Metal. It praises the authentic casting of deaf actors and one strong sibling scene but criticizes the focus on the hearing daughter’s journey and the film’s tourism-like approach to ASL culture. [Read](https://www.telegraph.co.uk/films/0/coda-review-comedy-drama-deafness-should-have-taken-risks/)
- **Paste**, Amy Amatangelo (9.5/10): The critic finds CODA a beautiful, nuanced and complex tale buoyed by delicate and deft performances that is universally relatable despite its specific setting. She singles out the exceptional cast, especially Emilia Jones, for bringing nuance and emotional depth. [Read](https://www.pastemagazine.com/movies/apple-tv-plus/coda-review)
- **Collider**, Perri Nemiroff (A-): The critic calls CODA a must-see coming-of-age crowd-pleaser brimming with soul that uses familiar tropes to deliver something unique and profound. She singles out the exceptional lead performance by Emilia Jones and the strong family chemistry for praise. [Read](https://collider.com/coda-movie-review-eugenio-derbez-marlee-matlin/)
- **/Film**, Hoai-Tran Bui (8.5/10): Coda approaches familiar coming-of-age beats with earnestness and raw authenticity, balancing irreverence with hard dramatic moments while respectfully portraying the deaf community. Jones gives a phenomenal breakout performance and Kotsur stands out as the brash, randy father. [Read](https://www.slashfilm.com/579112/coda-review-sundance-2021/)
- **Polygon**, Matt Patches (85/100, inferred): The critic finds CODA authentic, sensitive, and playful, remaining human even as it tugs at the heartstrings while exploring Deaf family life and hard choices. She singles out the fearlessness of prolonged ASL dialogue scenes and the absorbing physicality of the performances. [Read](https://www.polygon.com/22255596/coda-movie-review/)
- **Deadline**, Pete Hammond (80/100, inferred): The critic calls the film a breath of fresh air and a real crowd-pleaser with breakout potential. He singles out the authentic casting of deaf actors and the effective use of silence in key scenes. [Read](https://deadline.com/2021/01/coda-film-review-marlee-matlin-emilia-jones-sian-heder-sundance-1234682823/)
- **Eye for Film**, Jeremy Mathews (80/100, inferred): Heder’s screenplay relies on familiar beats but her writing and direction show compassion and a desire to understand each character’s feelings. The film is a little cheesy but poignant, with strong ensemble chemistry and real emotional truths about family and pursuing dreams. [Read](https://www.eyeforfilm.co.uk/review/coda-2021-film-review-by-jeremy-mathews)
- **The Wrap**, Steve Pond (75/100, inferred): The critic describes the film as modest but thoroughly satisfying, corny but effective, and always likable. He singles out its landmark authentic portrayal of deaf characters played by deaf actors with eloquent ASL performances. [Read](https://www.thewrap.com/coda-film-review-sundance-deaf-sian-heder-marlee-matlin-emilia-jones/)

## Details

- **Director:** Siân Héder
- **Director:** Siân Héder
- **Screenplay:** Siân Héder
- **Cinematography:** Paula Huidobro
- **Editor:** Geraud Brisson
- **Music:** Marius de Vries
- **Production design:** Diane Lederman
- **Costume design:** Brenda Abbandandolo
- **Producer:** Jérôme Seydoux, Philippe Rousselet, Patrick Wachsberger
- **Cast:** Emilia Jones as Ruby Rossi; Marlee Matlin as Jackie Rossi; Troy Kotsur as Frank Rossi; Eugenio Derbez as Bernardo Villalobos; Ferdia Walsh-Peelo as Miles; Daniel Durant as Leo Rossi; Amy Forsyth as Gertie; Kevin Chapman as Brady
- **Runtime:** 1h 52m
- **Certificate (MPA):** PG-13
- **Release (the US):** 13 August 2021
- **Genres:** Drama, Music, Romance
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 2021); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 2021)
- **Budget:** $10 million
- **Box office:** $2 million
- **Trailer:** https://www.youtube.com/watch?v=0pmfrE1YL4I

## Where to watch in the US

- Apple TV: streaming, uhd
- The Roku Channel: add-on, hd
- Amazon Prime Video: add-on, uhd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Apple TV: buy $7.99, hd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-20.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2022: Best Picture (won)
- Gotham Independent Film Award for Breakthrough Actor 2021: Gotham Independent Film Award for Breakthrough Actor (won)
- Gotham Independent Film Award for Outstanding Supporting Performance 2021: Gotham Independent Film Award for Outstanding Supporting Performance (won)
- Hollywood Music in Media Award for Best Original Song in an Independent Film 2021: Hollywood Music in Media Award for Best Original Song in an Independent Film (won)
- Sundance Audience Award: U.S. Dramatic 2021: Sundance Audience Award: U.S. Dramatic (won)
- Sundance Film Festival U.S. Dramatic Grand Jury Prize Award 2021: Sundance Film Festival U.S. Dramatic Grand Jury Prize Award (won)
- Sundance Special Jury Prize 2021: Sundance Special Jury Prize (won)
- Sundance U.S. Directing Award: Dramatic 2021: Sundance U.S. Directing Award: Dramatic (won)

## If you liked this

- *La Famille Bélier* (2014): The French original: a dairy farm instead of a boat, and rather broader jokes.
- *Sound of Metal* (2019), Fi1m 81: A drummer losing his hearing; harder, quieter and far less interested in comforting you. — [Fi1m page](https://film.one/film/sound-of-metal.md)
- *Children of a Lesser God* (1986), Fi1m 66: Marlee Matlin, much younger, in a love story that argues about who should adapt to whom. — [Fi1m page](https://film.one/film/children-of-a-lesser-god.md)
- *Sing Street* (2016): Ferdia Walsh-Peelo forms a band in 1980s Dublin; the songs are better than they need to be.
- *Billy Elliot* (2000), Fi1m 81: A working-class kid, a baffled father and an audition in London; the model this film follows. — [Fi1m page](https://film.one/film/billy-elliot.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/coda