Evokes a family’s fragile inner life in ineffably moving fashion, capturing how distant and isolated parents and children can feel from one another even when living under the same roof. Shows remarkable, almost subliminal powers of observation.

                      Justin Chang, Variety

This is hands down the craziest first shot we've seen this Cannes, and yet it is simple: a face in extreme close-up, soon a second one, looking at someone or something, as if bedside, seen through a pink veil, everything pink. This first ghostly shot, itself of a spirit with Apichatpong Weerasethakul, will haunt the film, the second from Taiwanese American director Patrick Wang. We owe its presence at Cannes to the adventurous selection of ACID. Good on them, as year after year they have proven their growing relevance, but it does not explain why the other more prominent selections should have shunned so powerful and haunting a film. Scenes are repeated almost identically, talk strangely as if they were suspicious of each other, collide in sumptuous multiple exposures, and they even seem to get lost in the maze of meaning and time patiently and masterly developed by Wang, one of the greatest hopes for American independent cinema.

                     Jacky Goldberg, Les Inrocks

Wang’s slow-burn approach offers plenty of perceptive, beautifully rendered moments. At once literary and gently cinematic, THE GRIEF OF OTHERS develops a haunting atmosphere that builds to a satisfying conclusion.

                     Eric KohnIndiewire

One is dazzled and delighted to discover a gentle picture of mourning, the second film from Taiwanese American filmmaker Patrick Wang. His images converge to a staggering level in the film's final reconciliation, confirming that this is a leading filmmaker who will find a prominent place in ever more prestigious selections.

                     Clementine Gallot, Libération

IN THE FAMILY, the first film of Texan Patrick Wang, was a bewitching beauty: Ozu-like still shots seen from table height, the splendor of light, the intelligent use of the frame and of time. The work of a master who had never made a film and seemed to come from nowhere, formed not by cinephilia but by theater. It was an atypical profile, full of promise and potential disappointment given how high expectations had risen. But THE GRIEF OF OTHERS is better than a confirmation: it is a coronation. The film is much more complex to address than the previous one, the storytelling more deconstructed, but Wang’s mastery is total, as if it has already reached maturity. It manifests itself most clearly in those magical moments when Wang superimposes different shots and time periods to achieve a form of unsuspected poetic abstraction. THE GRIEF OF OTHERS is nothing less than the birth of a great filmmaker.

                     Axel Cadieux, Playlist Society

An astutely profound rendering of human behavior, Wang frames most of the scenes in static wide-shots, permitting us to observe the Ryries via a clinically disconnected perspective. The style keenly accentuates the isolating nature of grief and the haunting stillness within the Ryries household, resulting in an eerie and unnerving tone. Compared to the way that Hollywood filmmakers have portrayed similar scenarios, Wang’s directorial style comes off as practically avant garde (akin to the 1990s oeuvres of Atom Egoyan and Todd Haynes).

                     Don Simpson, Smells Like Screen Spirit

'Am I a good person?' asks the mother to her own father in an intense scene. The film pursues this question, full of humility, which implies a challenge: each character of THE GRIEF OF OTHERS, though armed with good intentions (there are no villains in Wang's cinema), is constantly confronted with his inability to understand others perfectly. Subtly, Wang incorporates this emotional 'disability' into the film's devices. Within the emotional maelstrom, the moral dilemmas of the characters are literally embodied on screen, superimposed, the interference between their personal psyche and the objective reality becoming ours. The viewer must fill in the gaps and gather the scattered elements. It is identification through participation. It is sublime.

                     Eric Vernay, Premiere

The subject matter could lead to a depressing viewing experience. That’s not the case here…it’s a beautiful film wrapped around a heartbreaking event.

                     Rod Machen, Austin Chronicle

Wang’s realism is much closer to 19th-century literary giants obsessed with daily life and family relationships like Chekhov and Ibsen than the work of directors such as the Dardenne brothers. Minutely observing the dynamics from scene to scene, Wang again works wonders with the adult actors especially.

                     Boyd van Hoeij, Hollywood Reporter

Wang invents formal processes, both surprising and striking, based on the superimposition of images and / or sounds according to the interference of the characters' outside worlds and their inner worlds. These creations are added, prominently, to the long list of things that Wang does so uniquely like his staging, attention to the whole of framing, editing, and narrative structure. With his cinematographer Frank Barrera he traces his own path. The cinematic pleasure to be had from this is significant, matched by the emotional payoff of this gentle example of how to deal with adversity and misunderstanding, how to pick up the pieces, how to improve the world a little.

                     Erwin Desbois, Accréds

Patrick Wang deploys entire worlds that are opposed and superimposed. The viewer sees expectations constantly subverted, and solutions to problems continually surprise. This is enlightenment and compassion on offer and should not be missed.

                     Hendy Bicaise, Études

Wang favors long takes that focus on the performances by his impressive cast, befitting his earlier experience as a theater director. The almost clinical dispassion and lack of melodrama with which he observes his characters paradoxically enhance the emotional moments that occur like mini-explosions at certain points in the film. Wang’s handling of flashbacks is especially intriguing; sometimes they are presented as frames-within-frames where the past coexists with the present, sometimes as off-screen voices representing past events. The lives of these characters unfold with exquisite precision, proceeding toward a deeply moving conclusion. Patrick Wang eminently proves himself a talented filmmaker well worth continuing to watch.

                     Christopher Bourne, Twitch

Gordie has recently lost his father, who, despite being a simple postman (think of the customs officer Rousseau) had a passion for art: building theatrical scenes in small boxes. Jessica understands their value and they are shown to a gallery owner to further expose them. In this example of outsider art we see a self-portrait of the filmmaker and his attempt, very successfully, to build a large theater of pain in an ordinary box, and along the way, an ethic for staging it.

                     Eugenio Renzi, Il Manifesto

Wang’s following may be small but invested in his work in a way only those who felt they’ve stumbled upon something special can be, so it was hard not to notice when Wang’s second feature THE GRIEF OF OTHERS premiered at SXSW that the audience was full of those in the know. They were rewarded with a drama every bit as magnificent as Wang’s first.

                     Stephen Saito, The Moveable Fest

After IN THE FAMILY, expectations built up for Patrick Wang’s second film. This adaptation of Leah Hager Cohen does not disappoint. Quite the contrary. If IN THE FAMILY turned an eye towards the broader political landscape, THE GRIEF OF OTHERS is tight and minimal. To deepen his characters, Wang uses ingenious overlays. On the screen are stitched together images like mental impressions that dig into the history and the abysses of his wounded characters. The filmmaker has a gift for making everyday life the heroic landscape of a mystery and for transforming viewers into detectives of lost souls.

                     Frédéric Mercier, Transfuge 

The new film departs in inventive ways that perhaps especially suit a literary adaptation beholden to efficient compression: internal monologue that comes into auditory focus almost like a radio being tuned between channels, and faded double or triple exposures to reconstruct visual memory, overlapping consciousness or meaningful existential connections between one place and another. In particular, the film’s final moments dazzle.

                     Peter Canavese, Groucho Reviews

With all these storms under one roof, Patrick Wang shoots a singular film, as ever there was, with a willingness to embrace all these fragile souls and hear them as if they were one and the same voice. The flashbacks, so intelligently applied, fit into the narrative not as time jumps but as spaces where the unspoken can be expressed. More ambitious than IN THE FAMILY with its many characters, THE GRIEF OF OTHERS confirms the birth of an auteur whose work we anticipate, now more than ever.

                     Thomas Baurez, Studio Ciné Live

No one else in modern American cinema is making movies like Patrick Wang. As he came to cinema late (and from the stage), Wang’s voice is a truly unique blend of filmmaking innocence mixed with an ambition that invites most direct comparisons to Bergman and Tarkovsky. His follow-up to IN THE FAMILY has splashes of humor but remains a Firmly Adult Drama, an adaptation of Leah Hager Cohen’s novel that follows a family still coming to grips with the loss of their newborn child. Shooting on celluloid and using the frame like a visual artist, Wang proves once again that he has a voice unlike any other. More than that, for me it was just so incredibly refreshing to encounter a work like this at an 'edgy, hip' film festival in the year 2015.

                     Michael Tully, Hammer to Nail

Because every face, every body, every situation is filmed so attentively, with an almost miraculous affinity, without knowing why, you find yourself happy to spend time with these people. Then the why gradually emerges, and it's poignant and precise. This construction reaches a final image that is not so much a display of dramatic virtuosity, but a careful, respectful response to the misfortune of the people and the countless mistakes and blunders they (we) commit when misfortune spirals.

                     Jean-Michel Frodon, Slate

A richly meditative, beautifully rendered work of art about loss and how it connects us.

                     Tim Sika, San Francisco Film Critics Circle

This may be the real revelation of the last Cannes Film Festival. So difficult is it to summarize a film that takes on the depiction of invisible pain, the pain buried under daily living. Wang filmed from the interior of this family, diffracted into individual solitudes. To every viewer who has confronted grief, the film will be a mirror. THE GRIEF OF OTHERS has the grace to remain, even in its final shots, a sublime and mysterious film. Because for Wang, healing is as curious a thing as injury.

                     Renan Cros, Cinema Teaser

Patrick Wang is slowly becoming the most dependably sensitive and inventive independent filmmaker in America. His latest, THE GRIEF OF OTHERS, based on Leah Hager Cohen’s book, is a panoramic look at a family handling a plethora of tragedies in their own odd ways.

Wang invests fully in each character through experimental editing and patient direction, allowing the images and performances to burrow into the viewer’s mind. THE GRIEF OF OTHERS is about finding a way out of tragedy’s maze and Wang is the perfect guide.

                     Scout Tafoya, Screen Rant

THE GRIEF OF OTHERS is not the simple, overused picture of the deterioration of the American middle class family unit. Wang goes much further. Under this roof he shows, with respect, a rare sketch of the complexity of love. Family, filial, maternal, domestic, friendly, whatever. The ellipses multiply, fitting into each other, or losing each other at times. It is an extended, immersive stream of consciousness. It is the gaze of a complex and singular filmmaker, to whom we hope the movie ecosystem will allow more and more opportunities to illuminate the intimate.

                     Clément Ghys, Libération

A visual marvel that doubles as a dive into dark waters handled with great humanity.

                     Léo Soesanto, Les Inrocks

In May, THE GRIEF OF OTHERS, Wang's second film was shown at Cannes as part of the ACID selection, and once again, it is ED that will distribute it in France under the title LES SECRETS DES AUTRES. Shamefully, the film does not have, for now, a distributor in the USA. Nevertheless, Wang - isolated from any scene or any group - has managed to attract critical acclaim, both French and American, marveling that the film had not been selected for Un Certain Regard or Directors' Fortnight. So this is a name many are willing to bet on, and a filmmaker who, on thorny issues, rejects any form of easy emotion and avoids affectations in favor of a discreet sensitivity.

                     Bertrand Louette, Arte

Slowly, individual by individual, Patrick Wang reveals the blended family that is the focus of THE GRIEF OF OTHERS, and his framing of these characters is extraordinary in a film that is simultaneously dark and merciful. At first glance this is an indie drama we think we know…but again and again it opens unfamiliar paths to interior lives, leading to remarkable psychological and cinematic revelations. Based on a novel by Leah Hager Cohen, the film does not just borrow a sketch of plot but emerges from a profound literary sensibility to tell its story. A likely underdog in the markets for US indie cinema, this does not change the fact that here Patrick Wang comes out the winner.

                     Lukas Foerster, Perlentaucher

We get small clues as the camera takes us into the intimacy of this 'normal' family: a meal that goes wrong, a sleepless night, a phone call. The viewer is struck by the quality of each shot, the originality of the image, sometimes charged with stunning superimposed elements. Shot in two weeks, this courageous and luminous film addresses powerful subjects without sentimentality.

                     Françoise Ricard, La Vie

Few films now have the strength and flexibility on offer in Patrick Wang's cinema. One can think of the work of the late Edward Yang and especially his film YI YI, precisely depicting the story of a little boy and his father within a larger family in mourning. Patrick Wang's two feature films are among those movies that permanently impress themselves into the rhythm of our selves, allowing us a deeper understanding of the world, both physically and spiritually.

                     Vincent Rinaldi, Nonfiction

In any other script, this juxtaposition of events with their psychoanalytic echoes could have resulted in a nauseous pileup. But not in the hands of Patrick Wang, whose cinema embodies a confident and thoughtful finesse as it is a gentle, indulgent witness to humanity. This is a filmmaker who always leaves room so that the light may enter.

                     Ingrid Merckx, Politis

All viewers of IN THE FAMILY who fell for its formal radicalism and generosity of spirit can testify that the film remains solidly planted in their memory. It is therefore with some impatience, tinged with curiosity, and even apprehension, that one approaches the second feature film by Patrick Wang, wondering: Can it possibly repeat the 'miracle' of IN THE FAMILY?

Far from being a revolutionary, Patrick Wang develops an intimate cinema whose ultimate goal would seem to be to pick up the thread of film lost with the disappearance of Frank Capra. Seeing THE GRIEF OF OTHERS should be a priority of the cultural season, and for those who might have missed it, also pick up a DVD of IN THE FAMILY, recently released by ED Distribution, who discovered this great filmmaker for the future and has good reason to defend him tooth and nail.

                     Philippe Person, Froggy’s Delight

An impeccable film, shot in two weeks, with excellent actressesa mother, a daughter, a young girlhumor, and a playful overlay of images that make the film even more intimate and touching.

                     Christine Siméone, France Inter

Wang's approach to filmmaking feels intuitive, even self-invented.

                     Ben Kenigsberg, Rogerebert.com

From the very beginning of THE GRIEF OF OTHERS, I was stunned by how the successive sequences conjure up the ghosts of hackneyed character types from silly comedies. That an ambitious work of art should not from the start strive to speak a different language, that it should first acknowledge what common ground it shares with other worksand which could be called 'the age' or 'the spirit of the times'at once appealed to me, intrigued me.

Then a patent slowness and bareness soon led me to guess that Wang did not use editing to hystericalize a clumsy screenplay...he gives such devices a try because that’s what you have to do, because you need to multiply forms to attempt to capture, through all possible means, what is being reinvented in personal relationships, because we never have enough tools and even if they may seem grotesque or bizarre, it is precisely how they can prove to be useful. For how could a narrative truly mirror our ludicrousness if it only summons dignified or fashionable devices? How can we bear that a work of art should remain formally noble when what is being scrutinized is precisely of another nature? Before the artist, the work itself has to get its hands dirty. A Brechtian maxim: don’t start from the good old things but from the bad new ones.

                     Arno Bertina, Le Café en Revue

Beautifully written, with the delicacy to expose those details, imperceptibly small, but that can change the course of a life. Patrick Wang is a great unknown filmmaker.

                     French Touch

In Wang's meditative treatment—here he strives not to find the answer but to ask the right questions—THE GRIEF OF OTHERS connects its affects by association. Wang plays with ideas of montage, often brilliantly, to support the tragic content and give it relief.

                     Morgan Pokée, Critikat

THE GRIEF OF OTHERS confirms the emergence of a genuine American auteur whose cinema is absolutely singular. Magnificent and exceptionally intelligent, the imagery of this beautiful film moves against the tide of current American independent movies.

                     Christophe Chabert, Petit Bulletin

A dive into the heart of a family where the unspoken rules the roost. Formally, the film is a heavy dose of realism with poetic tendencies. Like with his previous film, the director demonstrates how to economically access authenticity. Wang employs a minimalist, almost documentary bias for viewing this family's daily life, but then knowingly deviates from this approach, entering the doubts of his characters through tightened close-ups on faces or using very precisely designed superimpositions. After IN THE FAMILY, THE GRIEF OF OTHERS confirms the talents of Patrick Wang, both from a narrative point of view and a formal one, and these films establish the director as one of the most interesting of the decade.

                     Fabien Genestier, Le Bleu du Miroir

More than Cassavetes, which some have compared him to, Wang brings to mind a whole line of Asian cinema, Ozu and Naruse to Kore-Eda, but also the melancholy world of Chekhov. This film, shot in two weeks on Super 16, is handcrafted in the best sense of the term, and its director has established himself as a leading figure of American independent cinema, without tricks or compromises.

                     Gérard Crespo, Cinéma S Mag

This is the story of an American family in the wake of a painful event. A stone is thrown in the middle of a pond and soft, monotonous waves stir a peaceful life. The film focuses on those imperceptible waves that move slowly and wear away the relationships that we imagine stable, durable and indestructible. A father, a mother and two children, who want to understand...

This film allows us to see our world, so simple and banal, in its strangeness. This reality is so close to us, in the middle of our lives, that it is surprising to distance ourselves and then see it as in a mirror, in a movie. In the interstices of our simple and ordinary relationships, there is something singular, strange and precious that one no longer perceives.

Patrick Wang is free. Free to interrogate the daily lives we live that cinema too seldom examines, obsessed as it is with ever more and the extraordinary. Free to reinvent the form of narrative that seems at first like linear time. But then come temporal ruptures, pockets of time that pierce the middle of a story to then stretch and unfold. Free from the lure of pessimism in times of suffering and instead able to allow hope to emerge, driven by the desire to continue living together.

                     Mehran Tamadon, ACID filmmaker