Rick Burin’s review published on Letterboxd:
Hogg’s debut – heavily inspired by Rohmer, and particularly The Green Ray – deals with a quietly tortured married woman (Kathryn Worth) who becomes seduced by the spectre of fleeing youth, and sexually obsessed with her best friend’s cocky, self-centred son (Tom Hiddleston), while on a solo holiday in Italy.
It’s hugely insightful at times, infuriating at others, with distinctive visuals, two beautifully judged central performances, and moments of a raw and desperate power, but also intentionally scuzzy, badly-recorded overlapping dialogue that lacks clarity in either sense of the word, and the director’s unfortunate predilection for non-professional actors who – at least in two instances here – can’t actually act.
Where Hogg deviates from Rohmer is in her unflinching understanding of human cruelty, her interest in community and bonding, and her intensely British desire to sit with, and even wallow in, acute social unease – an enthusiasm she further explored in the excruciating Archipelago.
Hiddleston’s complacent, self-absorbed sensuality here is somehow much more dangerous and exciting than anything he’s done since, despite having now undergone the usual Hollywood transformation from skinny posh boy to chiselled, pseudo-suave beefcake. Like the central character here, I too want young drunk people to shut the fuck up so I can get some sleep.