88

Chicago Tribune

By Michael Phillips
The Witnesses may be schematic, but it lets each character live and breathe. The film captures a time and place that seems very distant now.
Full Review
88

TV Guide

By Ken Fox
Techine's unwillingness to soften his characters reflects a rare honesty about human nature that's rarely seen in movies, particularly movies about fatal illnesses, and his film is an engaging and particularly French character study.
Full Review
88

Boston Globe

By Wesley Morris
This is the epidemic from love's point of view, a story as much about how the disease can ravage the heart as it does the body. It is also Téchiné's best film since 1998's superb "Alice et Martin," and 1994's even better "Wild Reeds."
Full Review
83

Entertainment Weekly

By Lisa Schwarzbaum
What the characters in The Witnesses -- and we, the audience -- pay testimony to in André Téchiné's urgent, compassionate, and ultimately optimistic French drama are the toll the epidemic has rung, and the responsibility of the living to choose life.
Full Review
80

The New York Times

By Stephen Holden
The Witnesses may frustrate those who prefer movies that tell clear-cut stories in which hard lessons are learned. But in the director’s farsighted vision of life, the ground under our feet is always shifting. As time pulls us forward, the shocks of the past are absorbed and the pain recedes. In its light-handed way, The Witnesses is profound.
Full Review
80

Village Voice

The Witnesses forms a magnificent trilogy with "Son Frère" (2003), Patrice Chéreau's devastating account of fraternal devotion in the face of death, and the amazing, acerbic "Before I Forget," a brooding and bitter tale of survival coming soon from Jacques Nolot, here lending an iconic cameo as the proprietor of Manu's hooker hotel.
Full Review
75

New York Post

By V.A. Musetto
They should hand out a score card with every ticket to The Witnesses to help viewers keep track of who's sleeping with whom.
Full Review
75

Chicago Sun-Times

By Roger Ebert
The Witnesses doesn't pay off with a great operatic pinnacle, but it's better that way. Better to show people we care about facing facts they care desperately about, without the consolation of plot mechanics.
Full Review
70

New York Magazine (Vulture)

By David Edelstein
Excitingly convoluted.
Full Review
50

San Francisco Chronicle

A kind of film opera without music.
Full Review
75 out of 100
Generally favorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.