The Aftermath's reviews
Media reviews
Empire
The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.
Variety
The result is attractive and diverting, as any well-appointed film starring these actors in mouthwatering period finery could hardly fail to be - though for a story about people rebuilding their lives through grievous personal loss and moral torment.
Screen Daily
Despite its solid production values and tasteful edit, this film seems to swoon at the prospect of a naked Keira Knightley and Alexander Skarsgård. Both, of course, are strong commercial selling points to a particular audience who, if they won?t come out to the movies, will certainly love to stay in and watch this return to period film factory settings.
Indiewire
None of the pretty imagery or impassioned lovemaking can break free of a mopey old formula that sits on every scene with the same schematic quality that makes its weary setting so familiar from the start.
Cinemanía
The package is brighter than the content: the wardrobe (...), the art direction, the music.
The Guardian
It is more of a holiday romance and the well-intentioned performances lead nowhere.
The Hollywood Reporter
One of those very rare films that might have been good if there had only been a bit more of it, James Kent's 'The Aftermath' focuses on the setting and angst surrounding a romantic triangle without sufficiently imagining how it came to be.
The Wrap
Director James Kent?s adaptation of Rhidian Brook?s 2014 novel - about a ghost-like Germany, a broken British marriage, and the healing powers of a passionate thaw - has the unfortunate quality of a hot-blooded soap grafted onto rather than merged with a historical-political drama.