“it’s the kind of small auteurist cinema where a small degree of difference has an outsize impact; programming a film like this is doing the work.”
Review: Vadim Razor – Filmmaker Magazine
“Arthur&Diana‘s grainy picture provides a beautiful sense of home movies, especially with multiple interludes of montages or long shots while the characters talk above them. […] Existing in that middle ground only adds to the appeal: the playful nature of its leads’ dynamic conjures memories of our own family outings. If the result may seem somewhat slight, it resonates nonetheless.”
Review: Jared Mobarak – The Film Stage
“It is very much Summa’s love letter to the 70s era of independent filmmaking, and the script allows her to be open to a variety of options in exploring stories. And as Summa and her team prove, stories can be told through the simplest of occurrences.”
Review: Amartya Acharya – High on Film
“Arthur & Diana bridges the barrier between documentary and fiction incredibly well by weaving real-life footage into its scenes to great effect. […] by combining it with the genuine conversations that the siblings have with one another, a beautiful and harmonious chemistry happens between the two. The technique is an extremely subtle one, but one that will intrigue even the fussiest of palates.”
Review: John McDonald – DMovies
“a subtle, humorous, often contemplative story of everyday life. Life becomes little dramas that connect into a joyous moment of reflection and thanks.”
“The film is a visual and auditory treat with a beautiful score, lovely unobtrusive sets and backgrounds that make one feel you are on the trip, and the ever-present theme of eating.”
“Arthur&Diana has a freedom and flow to the story, like the French New Wave titles that clearly influenced this. The camera observes and offers us, the audience, to stay participating up to the last shot. Real family provides a unique way to tell a story, with this one being semi-fictional. Still, the immediacy of the actors is a joy to behold right up to the song that plays over the credits. You may find yourselves joining in and looking at your little section of the world with a smile.”
Review: Terry Sherwood – Film Threat
“Relaxed in its narrative structure and in the style of the cinema of the Spanish Jonás Trueba, the film, oriented to the world of emotions, seems like a collection of sketches of a family life.”
Review: Dimitris Babas – Cinephilia.gr
“Sara Summa excels in all four roles she’s assumed, filling the film with authenticity and sincerity throughout. As a writer, she is more than able to convince us that she is the one looking for the answers, along with us in the audience, all the while shifting fluidly and logically between three languages to tell her story. As a director, she is not afraid to take on the difficult task of filming around a toddler, a being that is unable to stay focused for long, while maintaining control over other aspects. As an actress, she gives herself completely and creates a strong chemistry with her brother (his acting experience also helps here) and her son. Finally, as an editor, she controls the rhythm of the film, while her weaving of some purely observational documentary sequences into the fabric of the fiction film is masterful.[…] In the end, Arthur & Diana is a sincere, warm, introspective experience that showcases the multitude of Sara Summa’s talents.”
Review: Marko Stojiljković – Cineuropa
“There is a Kodachrome aesthetic to the colour palette that gives the imagery a family home movie feel, especially when travelling inside of the car where the camera is like another passenger. The same can be said of the editing which has an in-the-moment quality. The sound design and music are not intrusive and avoid overtly stating what the mood is for particular scenes. The camera and audience are allowed to stretch their legs in intervals which provides an opportunity to change up the dynamics by introducing new characters and environments beyond the vehicle’s confines. The sophomore feature for Summa displays a light touch which is refreshing to see”
Review: Trevor Hogg – Live for Films
