" Mr. Haroun, whose earlier films include "Bye Bye Africa" and "Abouna," tells this story of a would-be boy-killer and his prey with restraint, a touch of humor and an elegant eye. Although the setup borders on the contrived — sure enough, Atim is soon working for Nassara — the result is anything but. The characters speak in the unrushed cadences of real life or not at all, with some interludes unwinding without a single word. Shortly before Atim goes to work for Nassara, the two wordlessly circle each other like dogs, like boxers squaring off in the ring. Nassara, who uses an electronic larynx to speak, asks Atim what he wants. "Not charity," the scowling boy responds, touchingly unaware that benevolence is precisely what he needs most.
Despite the film’s subject, Mr. Haroun’s storytelling shows little urgency, which might be cultural or symptomatic of war-weariness. The unhurried pace distracts as well as charms, and the same holds true of some of the more obvious rhetorical strategies, like the repeated images of Atim and Nassara sweating side by side while cutting dough and feeding the oven. Even so, the film has the feel of a gift. Particularly noteworthy are Mr. Haroun’s eloquent silences, visual and aural. Among the more indelible moments is an early scene that finds Atim rushing into his village's center after news of the amnesty breaks and the guns start firing. There in the heart of this modest little place where, one imagines, blood once dampened the dust, Atim stands silent surrounded by dozens of hurriedly abandoned shoes. He picks up one shoe and then another, as if searching for answers".
Manhola Dargis, The New York Times