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"A stunning work." (Vikram Murthi, RogerEbert.com)
“Takes a brazen, bounding risk right off the bat by stripping its story of any external period trappings, relocating it to a kind of liminal, sunburned present day. [It] ought to make a star of superb leading man Rogowski, whose planed, haunted face lingers in the mind as long as the film’s surfeit of discussion points.” – Guy Lodge, Variety
“TRANSIT refracts its own influences – not just Hitchcock, but also Carol Reed, and noir in general, and Casablanca – through a house of mirrors to get at the decentering truth of being nationally unmoored.” – A. A. Dowd, The A.V. Club
“Like a remake of CASABLANCA as written by Franz Kafka… lucidly traces the specter of fascism (never extinguished, always waiting to exhale), and how unreal it feels for it to cast its shadow across Europe once more.” – David Ehrlich, Indiewire
The past and present are a terrifying blur in “Transit,” a brilliant allegory set in France that opens amid wailing police sirens. The solitary man in a cafe sipping espresso doesn’t flinch. He is soon joined by a second man who gives him a name: Georg. “Why are you still here,” the second man asks, ...