Critics’ reviews

La Gradiva (2026)

11 reviews from 11 publications. Critics’ score 85: 11 positive, 0 mixed, 0 negative.

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85
Positive
11
Mixed
0
Negative
0

The reviews agree that Marine Atlan’s debut offers a perceptive, affecting account of adolescence, with praise clustering around its young ensemble and its sensitivity to feelings the characters cannot fully explain. Critics repeatedly commend the naturalistic performances, observant direction and attention to teenage uncertainty. IndieWire singles out Colas Quignard’s quiet body language as Toni, while The Guardian highlights Antonia Buresi’s sympathetic portrayal of an overwhelmed teacher and the subtlety of the classroom scenes. The detailed imagery also draws praise, alongside the connections between adolescent anxieties and the history of Naples and Pompeii.

The differences concern the strength of the enthusiasm rather than basic approval: all eleven reviews are positive. Reservations are scarce in the supplied accounts, though Eye for Film finds the symbolism occasionally emphatic despite admiring the grainy imagery and sensitivity to adolescent shame. The consensus is clear, but the most enthusiastic notices go considerably further in their praise than the more measured responses.

IndieWire
21 May 2026 · A · Marya E. Gates
95

Gates finds the film wholly transporting, praising its empathetic, layered portrayal of teenagers and their inner lives. She especially singles out Colas Quignard’s performance, whose quiet body language makes Toni’s heartbreak deeply affecting.

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The New Yorker
26 May 2026 · festival review · Justin Chang
95*

Chang calls La Gradiva an exceptional debut and one of the year’s great discoveries. He particularly praises Marine Atlan’s lively, perceptive filmmaking and the film’s vividly drawn young characters.

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Variety
14 September 2026 · festival review · Jessica Kiang
95*

Kiang praises the film as a deeply moving, perceptive portrait of adolescence and calls it an extraordinary debut. She singles out its vivid ensemble and Atlan’s compassionate attention to the characters’ partial understanding of one another.

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The Hollywood Reporter
21 May 2026 · festival review · Jordan Mintzer
90*

Mintzer calls the film a stunning debut and says it announces a formidable new talent. He particularly praises the candid performances and Atlan’s fluid, observant portrayal of teenage moods and turmoil.

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Slant Magazine
11 September 2026 · ★★★½/4 · William Repass
88

The review finds the film’s coming-of-age story unusually resonant and thoughtful. It praises how Atlan connects the teenagers’ desires and anxieties to the deep history of Naples and Pompeii.

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The Guardian
16 May 2026 · festival review · Peter Bradshaw
86*

Bradshaw praises the film as a beautifully directed, superbly acted coming-of-age story, while noting its increasingly sombre emotional force. He particularly singles out Antonia Buresi’s sympathetic performance as the overwhelmed teacher and the film’s nuanced classroom scenes.

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Vulture
22 September 2026 · Fran Hoepfner
80*

Hoepfner finds Atlan’s debut a finely observed portrait of youthful folly meeting ancient permanence. The critic especially praises the film’s lush cinematography and detailed images.

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Film Comment
festival review · Beatrice Loayza
70*

The piece presents La Gradiva positively as a sensitive, surprising exploration of adolescence and grief. It singles out the film’s handling of those themes, alongside Sandra Wollner’s Everytime.

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Screen Daily
16 May 2026 · festival review · Amber Wilkinson
70*

The headline presents the film as an observant and effective debut. It singles out Atlan’s capture of volatile youths on an Italian school trip.

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The Wrap
22 May 2026
95*

The critic calls the film a magnificent, moving achievement that captures the upheaval of growing up. They especially praise its stunning visuals and naturalistic performances.

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Eye for Film
10 July 2026 · Edin Custo
75*

The review finds the film a luminous, affecting coming-of-age story, though its symbolism can feel emphatic. It praises Atlan’s sensitivity to adolescent shame and the film’s grainy, tactile imagery.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate