Cruel to be kind, briefly uniting two recently-fired lonely losers then conspiring to keep them apart, working on themselves separately, until belatedly providing a reunion. I’m a sucker for Aki’s whole thing, and thought this one was beautiful.

Jordan Cronk in Cinema Scope:

Meticulously stylized and tactile, full of vivid colours and playfully anachronistic details, it’s a movie as richly designed as it is warmly romantic. With characteristic rigour, cinematographer Timo Salminen imbues the smoke-laced club interiors, delicate domestic settings, and sprawling industrial nether regions with a textured luminescence that belies the characters’ essentially drab surroundings.

Vadim Rizov in Filmmaker:

Shooting on 35mm as ever, Kaurismäki’s sense of vibrant color remains extremely pleasurable; he can make a supermarket’s employee locker room pleasing just by painting the lockers in shades of red, green and orange.