Tótem (2023)

Ide calls the film an exquisite, tender ensemble drama that balances grief with joy and love. She praises its child-height perspective and the camera’s lyrical, observant movement through the family home.

Opie calls the film a bittersweet, quietly transformative celebration of life amid loss. He particularly praises its child’s-eye perspective and cinematography, which turns a family’s day into fleeting, memory-like moments.

Chang finds the film quietly devastating, praising its intimate, unsentimental portrait of a family gathered around a dying father. He singles out Avilés’ restless camera and sharp observation of the house’s crowded human and animal life.

Willmore praises Tótem as a tender, vivid family drama that makes a goodbye gathering feel organic and deeply affecting. She singles out the fluid camera work and the film’s openhearted balance of love, pain, death, and life.

Nussen praises the film as an unexpectedly beautiful, tender portrait of a family facing impending loss. He singles out its tactile, fly-on-the-wall style and the way Sol’s perspective illuminates the family’s grief.

Debruge praises the film as an intimate, emotionally rich portrait of a family confronting mortality, without resorting to overt sentimentality. He particularly highlights its lifelike, lived-in family dynamics and the emotional force of the farewell gathering.

The critic finds the film exuberantly lovely and emotionally affecting without becoming a tearjerker. They especially praise Avilés’s lively direction and the camera’s ability to capture both family commotion and intimate grief.

Felperin finds the film noisy, joyous, and richly rewarding, with an emotional impact that exceeds its brief runtime. She praises Naima Senties’s naturalistic performance and Avilés’s skill in shaping the family gathering’s apparent chaos.

Lane finds Tótem a sad, lively, and often funny portrait of a family facing a father’s impending death. He praises Avilés’s attentive camera, which notices solitary figures and small moments amid the crowded gathering.

Ashioti finds the film affecting, lyrical and warmly buoyant despite its profound sadness. She praises the naturalistic ensemble and the young lead performance, alongside the film’s tactile symbolism and sensory craft.

Romney’s standfirst presents the film as an elegant drama about a family in crisis. The visible text singles out its elegance, while the review’s full discussion is behind a paywall.

The page is blocked, so the critic’s verdict cannot be determined. No praise or complaint from the review is visible.

The review appears strongly positive, presenting the film as a moving portrait of love in the face of grief. It singles out the intimate microcosm Avilés builds around that profound love.

McKibbin praises Tótem as a nuanced, empathetic view of childhood amid grief. She singles out Naíma Sentíes’ performance and Avilés’ close-up, child-centered filmmaking for bringing Sol’s perspective to life.

Bunbury finds the film moving without resorting to sentimentality. She especially praises Avilés’s extraordinary eye for detail and the close, observant camera work.

Wilkinson finds the film warmly poignant and sweetly comic, with its family gathering carefully orchestrated. She praises Avilés’ handling of the different emotional worlds of children and adults.