Frank Ritz’s review published on Letterboxd:
There are two moments that make me weep every single time.
1) The entire Doris section of the processing scene; “she’s the best girl I’ve ever known, I’m gonna marry her one day”, to him shouting “I don’t know”, to closing his eyes, to all those painfully gorgeous memories.
Recall a word - Flowers
What do you hear - Voices Inside
What’re you wearing - Navy Blues
Recall a sound - She’s Singing
And that’s precisely when I lose it.
2) When Dodd is being taken away by the police and Freddie attacks them. The way Phil communicates destroys me “Freddie! DONT YOU HURT HIM”. A genuine love can be felt in the frame and I can’t help but cry.
The Doris thing I always know is coming (There was a day on set of the feature I am currently working on where tears started coming to my eyes just thinking about it), but the Dodd one always catches me off guard - I always think it won’t happen this time, but then it does.
I feel an almost primal reaction to the film, and I can’t [entirely] explain why I think it’s so profoundly sad and beautiful. Truly is PTA’s best, so you can ignore me anytime I literally say otherwise. The processing scene is probably going to be the zenith of PTA’s career and I’m really ok with that; acting, writing, and all other technical aspects coming to ahead for a 15-20 minute sequence of genuine perfection.
I relate to Freddie, like I’m sure we all do; someone looking for some piece of happiness and purpose, but completely adrift, battling a lifetime of hurt, and never quite understanding himself, and of course the obvious quest for love, or even just a fuck.
Masterpiece by every definition of the word; infinitely rewatchable (somehow), and a never ending well to pull from.