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The Cut
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The Cut
CRITICS OF "The Cut"
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Film-Forward.com
Resource

October 09, 2015

Bombardment of images resonates from Holocaust films. . .Powerful travelogue visuals almost overwhelm the enormity of Armenian genocide and the cross-continental diaspora.
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Philadelphia Inquirer
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October 15, 2015

Despite its visual beauty and Rahim's extraordinary, and silent, performance, the film never quite manages to connect on an emotional level.
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Los Angeles Times
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September 17, 2015

This depiction could be seen as an allegory of the millions who have been displaced by the Syrian war and continue to fight for their survival as refugees.
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Newcity
Resource

September 30, 2015

[Akin] is s a resourceful collector of the sounds and sensations of the contemporary world... but there are only a few vividly imagined moments in [this] muted, somber passage...
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The Film Stage
Resource

March 20, 2016

Its historical devils are never really front and center, and The Cut could, in fact, be described as the most hopeful genocide drama ever.
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Washington Post
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October 29, 2015

Akin uses a visually compelling yet sober, almost restrained, aesthetic that differs from the more full-throttle approach of some of his previous work.
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Chicago Reader
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October 01, 2015

Akin has mischievously called the movie a western, and his wide-screen photography gives a sweeping sense of the vast distances separating the hero from his girls.
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Seanax.com
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February 12, 2016

He's a man traversing the frontier and isolated pockets of humanity (not always welcoming) to find the promised land of family, and Akin and cinematographer Rainer Klausmann find astounding backdrops for his odyssey...
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RogerEbert.com
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September 18, 2015

"The Cut" is not an optimistic film, but it presents a scenario rich enough to make you want to be optimistic.
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Blu-ray.com
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September 24, 2015

Those with a greater patience for streamlined, propulsive storytelling will be rewarded with a riveting saga of parental determination and historical horror.
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New York Magazine/Vulture
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September 20, 2015

The Cut is a haunting movie, but there are times when one wonders whether Akin should go more for the emotional jugular, rub our faces in the monstrosity he's depicting.
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