Utøya: July 22

    Utøya: July 22
    2018

    Synopsis

    The movie tells the story about a girl who has to hide and survive from a right wing terrorist while looking for her little sister during the terrorist attacks in Norway on the island Utøya, July 22nd.

    Votre Filmothèque

    Cast

    • Andrea BerntzenKaja
    • Aleksander HolmenMagnus
    • Brede FristadPetter
    • Elli Rhiannon Müller OsborneEmilie
    • Jenny SvennevigOda
    • Ingeborg EnesKristine
    • Sorosh SadatIssa
    • Ada EideCaroline
    • Mariann GjerdsbakkSilje
    • Daniel Sang TranEven

    Recommandations

    • 90

      Screen Daily

      Poppe’s way into the story – spending every second with one young woman as she navigates the carnage – is a moving testimony to the simple heroism that such events bring to the surface. Ultimately, it’s an homage to the very generation of young Norwegians who Breivik wanted to obliterate.
    • 83

      The Film Stage

      This grueling, pulsating, in-your-face film–almost to a fault–has ferocious power, but it’s going to divide like a fissure.
    • 83

      IndieWire

      The film has the power to make our bodies catch up with our hearts — the power to help us safely experience the kind of terror we need to remember in a way that makes it impossible for us to forget.
    • 80

      The Guardian

      It is an absorbing and moving tribute to the courage of the young victims of Utøya.
    • 70

      Variety

      U – July 22 is designed to be as immersive as it is exhausting, and largely succeeds.
    • 60

      The Hollywood Reporter

      For this critic, the events in the home stretch finally feel too much like concessions to the necessities of the laws of fictional drama, with first an unexpected twist followed by a melodramatic one.
    • 40

      The Observer (UK)

      This harrowing retelling of Norwegian rightwing extremist Anders Behring Breivik’s 2011 terrorist attack on the island of Utøya is less exploitative than Paul Greengrass’s brutal, Netflix-bound, English-language version, but the question remains: does a tragedy have to be turned into cinema for people to engage with it?

    Vu par

    • MARTIN