Metacritic reviews

Girl on the Bridge, with its doomed art-house romanticism and echoes of Fellini, may not be the deepest piece of filmmaking out there now, but it is easily the most intoxicating. Take the leap.

Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.

Leconte (''Ridicule'') gives his heart to the luck of romance, to the dream state visual style of Fellini, and, most lyrically, to the passion of the dagger point swoon.

It's a film of sneaky power, peculiar delights and, finally, the ability to dazzle.

Shot in sumptuous black-and-white by Dreujou, Girl on the Bridge might just be the most beautiful-looking movie of the year.

New and amazing -- it takes you back to the days when French filmmaking and French filmmakers were the darlings and saviors of the cinematic cutting edge. It's a great film, simply told, and a pleasure to watch.

What's best about the movie is its playfulness.

Locale is crucial here, and Monte Carlo, Athens and Istanbul are a wonderful trio of cities for glamorous romance, intrigue and danger--and they could not seem more richly atmospheric with Dreujou's lush camerawork.

Leconte's visual instincts are so impressive that they outstrip his story, leaving us flushed and dazzled, but also, as after a long night of champagne and baccarat (to say nothing of other irresponsible pleasures), hungry, tired, and homesick.

This rather obvious parable about soul mates benefits from luminous B&W cinematography, Paradis and Auteuil's luminous performances and the picturesque carny atmosphere.