THE LAST RECKONING

A very unusual and interesting film. Against a slow-moving plot, a multifaceted psychological portrait unfolds — different viewpoints, positions, the problem of choice, priorities, and personal justice. The film is strangely mesmerizing. Thank you!

I truly enjoyed the acting. Not a single false word or note. The emotions are a bit restrained, but everything is soft, precise, believable, and incredibly beautiful!

I watched this film three times! The first time it felt slow and unrealistic — situations seemed invented, the speech too ornate. But when it ended, I unexpectedly felt sorry it was over. So I watched it again. This time I saw it as a theatre play — and that’s when its beauty opened completely. Brilliant acting, mise-en-scène, scene design — fantastic! Then I watched it once more just to enjoy the experience. Bravo!

I loved the relationship thread most of all. The way she looked at him when he closed his eyes… so much pain and tenderness. It’s a crime film, but what stays with you is the human part.

That scene where he’s lying on the couch with his eyes closed… I felt all his guilt and exhaustion. It’s like he’s been carrying that weight for years. And the moment the girl holds his face, it’s like one second of warmth in a very dark story.

This is my jam! Tears, tension, love, sadness, crime, all at once. Some scenes hit so hard I felt it in my stomach, especially when the brother starts losing control.

Now this is classic genre stuff: brothers, a secret, a body, a lie, and everything spiraling into a self-destructive mess. The fireplace scene with the attorney? Incredible. Finally a crime drama where emotion hits as hard as the tension.

Good film… but it could’ve been shorter.

The film hooks you with its moral tension from the opening scenes. I loved how the dialogues between the brothers slowly reveal the growing rift. One calculated, the other impulsive. The editing during the “reckoning” moments is razor-sharp. A rare crime drama that focuses not on the crime, but on the internal courtroom.

I expected more intensity. Great story, great actors, but I wanted the “reckoning” to hit harder. A bit more darkness wouldn’t hurt.

Very European in pacing and color. You feel the Canadian school: lots of breathing room, subtlety, and trust in the audience. And that final emotional slice. Exactly what festivals love.

The film’s real power is in the protagonist’s psychological collapse. His lines sound like someone who’s trapped himself. The “inner trial” is written convincingly. And that barbershop scene, honestly, it tells more about him than any exposition.