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Rolling Stone

“TRULY AN EXHILARATING GIFT. Funny, touching and vital, it’s a serious pleasure. IT’S TIME TO REALIZE THAT IRA SACHS IS A MODERN MASTER.” 

-- Peter Travers

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The New York Times


-- A.O. Scott


New York Magazine

“LUMINOUS. BIG-HEARTED FILMMAKING. If Martin Scorsese was the quintessential auteur of New York in the 1970s and ’80s, and Spike Lee that of New York in the late ’80s and ’90s, then Ira Sachs is gradually becoming the quintessential auteur of today’s New York”

-- Bilge Ebiri



“A gem. Tenderly observed. Brimming with truths about modern life.” 

-- Peter Debruge


The Guardian

“FIVE STARS. Achingly humane. Deeply Moving. The cumulative effect is heart-rending.”

-- Nigel Smith, The Guardian

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The Hollywood Reporter

“Beautiful. Ranks among Ira Sachs’ best films. The performances are impeccable.”

-- David Rooney


“By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.”

-A.O. Scott, New York Times


“A delicate, superbly crafted and deeply moving portrait of family in its many forms and emotional permutations.”

-Ann Hornaday, The Washington Post


Love Is Strange has the confidence in its beautiful and emotional story to tell it simply.” 

-Sheila O’Malley, RogerEbert


“Beautifully constructed and especially poignant thanks to the film’s centerpiece relationship, played with profound authenticity.”

-Julie Miller, Vanity Fair


“Love is Strange is a movie about all of us — and it happens to be the year’s greatest love story.”

-Matthew Jacobs, Huffington Post


Love Is Strange emerges as a total triumph for Sachs and his co-leads, John Lithgow and Alfred Molina, who turn in career-topping work.”

-Joshua Rothkopf, Time Out


“John Lithgow and Alfred Molina Give Their Best Performances In Years As Struggling Couple In Ira Sachs’ Tender NYC Drama.”

-Eric Kohn, IndieWire



"Keep the Lights On is an aching chronicle of a relationship's fall, a heartbreaking account of addiction. It also signals the birth of Thure Lindhardt as a major film star." 

Ed Gonzalez, Slant Magazine 


"This beautifully aching love story…cuts to the bone with the gentlest of knives... Sachs's stunner is a front-runner for best American film of the year." 

Eric Hynes, Village Voice 


This is personal filmmaking at its most eloquent and poetic, a movie that sent me reeling.”

-Tom Hall, Filmmaker


“The richness of Sachs’ accomplishment lies in the implicit bond that develops between the couple on the screen and the people in the audience.”

-A. O. Scott, The New York Times


“Sachs' screenplay and cinematographer Thimios Bakatakis ("Dogtooth") do a terrific job, combining visual polish with credible pillow talk.”

-Eric Kohn, IndieWire 


“Moodpiece specialist Ira Sachs has directed perhaps the most lived-in film of 2012, and certainly counts among the most moving.

-Mike McCahill, The Guardian


Coming soon!


"Stylish without being overly stylized, intelligent without being boring, Married Life is a classy throwback to the good old days when subtlety meant something at the movies and watching Hitchcock was a good reason to stay home."

- Rex Reed, New York Observer  


"I was seduced by Married Life, a little beauty set in well-mannered 1949, which has fun with bad behavior among attractive cheaters."

- Lisa Schwarzbaum, Entertainment Weekly


"The funny, the scary, the campy, the sad--they’re all splendidly of a piece."

- David Edelstein, New York Magazine  


"Cooper and Clarkson are sublime in creating a marriage still filled with tenderness, even as they lie to each other with breezy consistency."

- Richard Roeper, Ebert and Roeper


"This is the film Woody Allen would kill to make – an effortless, cohesive, and cutting look on commitment, love, and marital maneuvers."

 - Kent Turner,


"Arch, wry and dry, with its exquisite wallpaper and impeccably blocked fedoras, Married Life is bracingly malicious noir for a while, a sort of gray-flannel-suit take on the Coen brothers' Blood Simple. Every character seems morally capable of anything."

- Kyle Smith, New York Post


"This subtle dance around morality is as seductive as the elegantly designed rooms it takes place in, where even the shadows are cozy."

- Joe Neumaier, New York Daily News


“Atmospheric and haunting…Forty Shades of Blue is a movie that seeps under your skin. It demands patience and it rewards it amply.”

- David Ansen, Newsweek


“Wordlessly eloquent about the patterns of estrangement and entrapment that infect family ties...with a rapt, heightened naturalism that owes a sizeable debt to Cassavetes..”.

-Dennis Lim, Village Voice


“There is no American correlate for “Forty Shades of Blue,” the most apt comparison for its even temper and tumble of unvarnished emotion lies across the ocean with French directors like Maurice Pialat. Sachs has gracefully captured the graceless vicissitudes of real life.”

-James Crawford, IndieWire


“This is the long-awaited follow up to The Delta, Ira Sachs’ stunning debut. It’s riveting to watch this lonely woman navigate such a bleak existence. Korzun’s performance is stunningly subtle.”

-Dennis Dermody, Paper Magazine


“A rare serving of adept regional indie cinema, Ira Sachs’ Forty Shades of Blue uses its Memphis milieu as setting and as character--the film is waist-deep in country-blues insouciance humming with nostalgia for itself and disdain for early-millennium consumer homogenization.”

-Michael Atkinson, The Village Voice


“A new work of art, comparable to under-recognized American classics like Seventeen and Killer of Sheep. A Faulknerian look at thwarted desire shot in evocatively muted 16mm, it is the most substantive independent film in years.”

- Armond White, New York Press


“More like a European art film from back in the day than an American independent, The Delta is a remarkably assured feature debut from writer-director Sachs. So many filmmakers set out to create Hollywood calling cards with their freshman efforts that the word independent has come to describe little more than how a film is financed. But The Delta is that rare movie that is independent-minded, giving the jaded moviegoer cause to rejoice.”

-Time Out


“A compelling look at aimless teens, sexual confusion and violence in Sachs’ hometown of Memphis, a unique blend of American indie realism and European art film storytelling.”

-Scott Macaulay, Filmmaker


“Writer-director Sachs nails the frustration and disconnectedness boiling beneath the surface of a stagnant rural backwater.”



“It’s a strange but powerful film, very unlike most American independent films, but with a strong American flavor.”

-C Walker, City Voice


“A Warholesque meditation on sexual ambiguity.”

- Filmmaker Magazine


“In Ira Sachs's wonderfully twisted faux-documentary Lady, Dominique Dibbell... stars as a lesbian playing a gay man playing a '70's TV star, or something like that. This is the loopiest genderfuck of the year.”



“Lady will suspend you throughout its 28-minute life.”

- Nightlines Weekly


“The pick of the bunch is…Ira Sachs's Lady.”

- Eye Weekly