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While on a assignment in Afghanistan, well respected wartime photojournalist Rebecca (Juliette Binoche) follows a female suicide bomber in Kabul. Getting closer to her assignment than she should have, she gets badly hurt and is hospitalised. Returning home, her husband Marcus (Nikolaj Coster-Waldau) and daughters struggle with the thought of her dying while at work and she is given an ultimatum: Her work, or her family life. At first the choice seems obvious.

 Thousand Times Goodnight, A
Soon after comes an offer to photograph a refugee camp in Kenya, a place allegedly so safe that daughter Steph is allowed to join her mother as she too has an interest in photograpghy but when violence breaks out and Rebecca’s passion to capture the story puts her in danger again, the promise she made to her family is once again placed under the spotlight.

 Thousand Times Goodnight, A


The film’s opening scenes shows off this sharp and textured image perfectly, depicting the raw quality of its Afghanistan setting. The largely naturally lit film is rich in colour and glows wonderfully off of the screen. The dusty setting at times brings everything to life as clothing is affected by the surroundings and the warm colours countered against deep black cloth clothing really shows off the image's well-handled range. Edges are crisp, detail shines through the quality of the images and everything here makes for a beautifully realised presentation.

Some of the more abstract images, such as a dream sequence with Rebecca floating underwater or the detailed slow motion study of the tide looks even sharper than the rest of the already impressive visuals and pushes all of the right 1080p buttons to make this a vividly detailed presentation. The interior home life scenes of the film still manage to look bright and gorgeous with some of the brighter set scenes becoming all about the finer details of beards, scars or tiny everyday details. The later African based scenes brings another impressive view of the film’s location choices and really there’s not a lot this fine presentation doesn’t excel at.

 Thousand Times Goodnight, A


The beautifully tender score here really sets the mood and the film is one that’s never scared to be silent beneath its musical driven heartbeat. Dialogue is always clear and well placed in the track and even though the audio here is sometimes only limited to dialogue and otherwise sits ever so silently it creates a rather realistic world with only creaking doors and clinking plates to emphasise to the quietness.

Going back to the score, it grows incredible subtly, its used to depict the sadness or genuine sense of danger in scenes and lifts at all the right moments, making up for the silence between characters. It’s the priority over sound effects such as bombs or gunfire and really is the thing to lead us through heartache, horror or utter devastation the film subtly leads us through.

 Thousand Times Goodnight, A


There’s no extras here but giving this is a story that’s largely auto-biographical it would have been nice to see just how much of it happened.

 Thousand Times Goodnight, A


A Thousand Times Goodnight is a slow, delicate film that while personal and genuine doesn’t always entirely engage. That said the family struggle and Binoche’s depiction of Rebecca is an interesting angle to enter into some of harsher regions of the world and the counter of work and family and how passion fuels us is very well studied. The image here is fantastic, the audio subtle and solid but with no extras to speak of, the otherwise great release is a little bit lacking.

 Thousand Times Goodnight, A

* Note: The above images are taken from the Blu-ray and have been resized for the page. Full-resolution captures are available by clicking the individual images, but due to .jpg compression, they are not necessarily representative of the quality of the transfer.