All of a Sudden (2026)

The critic calls the film transcendent and says it earns its three-hour runtime. They single out Hamaguchi’s insightful screenplay and delicate direction, especially the film’s careful visual and sound design.

Kiang gives the film an ecstatic review, praising its generous, life-affirming story about care and connection. She singles out the long conversations and the leads’ performances for creating an unusually intimate, transformative experience.

Jenkins finds the film overwhelmingly affirmative and philosophically rich. He especially praises its performances and the way its careful dialogue makes caregiving a means of human connection.

The critic is strongly positive, finding the film’s patient portrait of friendship quietly transformative. They single out Hamaguchi’s attentive direction and the way dialogue and care foster connection.

Uhlich finds the film scattershot and occasionally treacly, but says its earned optimism feels like a balm. He especially praises the natural emotional and physical kinship between Virginie Efira and Okamoto Tao.

Ehrlich finds the film a light, lovely, and increasingly hopeful argument for a more humane future, despite its overly prescriptive ideas. He praises its care-centered perspective and Tao Okamoto’s delicate, ethereal performance.

The review presents the film as philosophical yet joyous, and says it restores faith in humanity. The headline singles out its humanistic optimism for praise.

Rooney finds the film a deeply affecting work of humanism, though its leisurely pace and long runtime may test viewers. He praises its luminous moments of human connection and its compassionate attention to dignity and care.

The headline presents the film as a rich, engaging drama. It singles out the magnetic connection between Virginie Efira and Tao Okamoto.

The Cannes dispatch appears to review Hamaguchi’s All of a Sudden, but the available text does not reveal the critic’s verdict. It also does not show what the critic singles out for praise or complaint.

Bradshaw finds the film tender and beautiful but overly precious and self-conscious, with its quieter scenes of care working best. He singles out the observant, compassionate moments between caregivers and patients as its strongest passages.

The critic calls the film a transcendent, life-affirming achievement whose emotional impact feels earned. They single out Tao Okamoto and Virginie Efira’s sublime performances and the tenderness of their characters’ evolving friendship.

The critic finds the film a rich, humane experience for viewers willing to settle into its leisurely pace. They single out its wandering conversations and Hamaguchi’s quietly resonant treatment of hope and difference.

Custo finds the film an affecting, thoughtful argument for treating care and tenderness as ordinary necessities. They praise its intimate conversations while noting that its rituals can edge toward the absurd or cultish.

Hammond finds the film humane and worthwhile in its aims, but says its excessive length and lecture-like stretches dilute its impact. He praises the compassionate relationship between the two leads and the film’s attention to failing health care.