Raul Marques’s review published on Letterboxd :
A near immaculate post-WWI romance that only really slips by presenting something as a revelation to both characters and audience when, in fact, that had previously been established as a dramatic irony that could've easily been the movie's main source of tension.
Of course, though, you can tell by that sequence's placement at what's roughly the midpoint of the picture, that Ozon is not actually going for a 'Phoenix'. Instead, he's aiming at Renoir, by overwhelmingly succeeding at trying to blend 'Grand Illusion's anti-war humanistic melodrama with 'A Day in the Country's breezy, effortless visual poetry, all through an elegant formalism reminiscent of Classic Hollywood.
Almost every single contemporary black-and-white film is promptly praised for its cinematography, and this is rightfully no different, but there's truly a special quality to the color grading here. The gorgeously lit, highly contrasted monochromatic images gradually change into these equally stunning, gracefully diluted colorful ones that even if they were completely devoided of intent, which is clearly not the case, the gimmick would be absolutely justifiable.
Calling it now, the best closing scene of the year.