"A movie that defies moral boundaries and narrative conventions."
— Jordan Mintzer, Hollywood Reporter
"A family drama as masterfully propulsive as a horror movie."
— Alison Willmore, New York Magazine/Vulture
"Catherine Breillat’s provocative new film is like a watercolor dabbed with cyanide."
— Adam Nayman, The New Republic
"Breillat’s sharp writing and even sharper camera make for a cinematic challenge, a cinematic gem."
— Drew Gregory, Autostraddle
"French provocateur Catherine Breillat explores age gap relationships with complexity and truth in Last Summer."
— Kat Sachs, Chicago Reader
"Breillat's new film, a fiercely antagonistic tale of an incestuous affair, is both a long-delayed return to work and an artistic self-renewal."
— Richard Brody, New Yorker
"Last Summer is a provocation and a melodrama, and yet in Ms. Breillat’s hands these characters are precisely rendered humans -- in their sensitivities, their wants, their vile follies."
— Zachary Barnes, Wall Street Journal
"Last Summer is my favorite of Breillat’s movies to date, because its allegiance to aesthetics collides with its story in a way that feels bracingly confrontational and unrepentant."
— Sophie Gilbert, The Atlantic
"A drama expertly modulated to raise both eyebrows and pulse rates, led by a superb Léa Drucker performance that’s rooted in uncontrollable self-destructive passions and intense self-preservation instincts."
— Nick Schager, The Daily Beast
"Here, after a nearly two-decade dry spell, is the comeback we’ve been wanting from Breillat: a film... that confronts the complicated, impulsive and all-too-often-regrettable choices humans make when desire takes control."
— Peter Debruge, Variety
"By Breillat’s standards, this is an unprecedentedly sleek commercial play, alluring and grabby — yet with an innate, considered nastiness, an unspoken intellectualisation of our least explicable instincts, that never feels compromised."
— Guy Lodge, Film of the Week
"To be clear: Breillat isn’t justifying Anne’s affair or, on a larger scale, telling a story with any universal resonance. She’s exploring how this particular sinner did the unforgivable — and then committed even more sins trying to cover it up."
— Amy Nicholson, Washington Post