"A quintessentially Denisian film."
— Jonathan Romney, Screen International
"Juliette Binoche and Vincent Lindon [give] two tremendous performances."
— Sheila O'Malley, RogerEbert.com
"Denis crams more mystery into a single transitional cut than most movies manage across their entire runtimes."
— A.A. Dowd, Digital Trends
"Love hurts in Claire Denis’s films, and Both Sides of the Blade is as jagged as anything she’s made in the past 15 years."
— Adam Nayman, The Ringer
"Claire Denis and Juliette Binoche, who have now made three films together, are a match made in a gloriously idiosyncratic heaven."
— Stephanie Zacharek, TIME Magazine
"The film is a riveting sketch of a turbulent love triangle, held together by Binoche and Lindon’s incredible performances and sheer screen presence."
— Katie Walsh, Tribune News Service
"The sense of love dissolving and lives thrown into chaos as a dormant past violently breaks through the surface is unexpectedly moving, all the more so because of the film’s rigorous rejection of sentimentality."
— David Rooney, The Hollywood Reporter
"Watching it, you can feel Denis zeroing in on the conventions of the bourgeois French melodrama with something resembling a lover’s playfulness; she wants to rough them up, test their limits and bend them into challenging new configurations."
— Justin Chang, Los Angeles Times
"The silences that overwhelm the movie’s confrontational rages and the suppression of backstory details, underplaying motives and emphasizing action, thrust 'Fire' out of the realm of psychological drama and into shocking emotional immediacy."
— Richard Brody, The New Yorker
"Human beings can be really complicated. And thankfully, there are filmmakers around like Claire Denis who make films such as Both Sides of the Blade to remind us of that complexity. Films that seemingly help us in trying to understand each other, but really show us that we might never be able to."
— Josh Kupecki, Austin Chronicle
"As is often the case with Denis’ films, Fire grows more illuminating as it gets hotter; what starts like a constrained and unusually jagged French drama is eventually forged into an incendiary portrait of three people who — to varying degrees — all delude themselves into thinking that the past is possible to quarantine away from the present."
— David Ehrlich, IndieWire