The beauty is in the array of animated faces in Anders' life. And it's in the simple promise and vitality of Anders' face, which serves the film without any regard for being in a film, let alone a tragedy or a poetic vision of darkness and futility.

The movie transpires mostly in quiet, engrossing dialogue scenes, and its austere style shares a good deal in common with the protagonist, who seems both opaque and completely exposed.

[Displays] an invigoratingly acute understanding of the psychology of insecurity, longing, defensiveness and inward-turning rage.

...effectively confirms Trier’s place as one of the most promising new directors on the international scene.