Those who stay invested will be rewarded with an honest and holistic vision — one that, in following each thread separately, speaks to the rupture that tragedy can bring, and our endless quest to put the pieces back together again.

It is a true artistic accomplishment that writer/director Mathieu Amalric was able to take Galea’s text, originally meant for the stage, and spin it into a vivid piece with such a uniquely lush cinematic language.

Watching large chunks of this film feels like being transported into a trance-like reverie, albeit a reverie that quite often has nightmarish contours.

It’s a tragedy of sorts, one that at times is almost too dark to bear. But there are moments too when Hold Me Tight achieves something quite remarkable, blurring the line between reality and imaginings to burrow into the heart of grief and loss in ways that are also life-affirming.

It’s a powerful piece of work with poetic direction and incredible work from Krieps, an actress who increasingly feels like she’s never going to miss.

Thankfully, Hold Me Tight, with Amalric’s alert, empathetic stewardship and Krieps’ gripping portrayal, sets aside the banality of grief’s burden for something more alive and elusive, but no less affecting.

Hold Me Tight is likely a film that rewards viewers with repeat viewings; it’s difficult to evaluate it on the basis of its decision to withhold crucial information until the end. It’s a risky choice, to be sure, and if it pays off, it mostly does so because of the power of its lead performance.

Krieps makes her journey into this open wound not just intriguing, but heartbreaking.

There’s confidence and verve in his style, ample sensitivity in Amalric’s direction—particularly with his actors. But the whole becomes a bit lost in its jumble of beautiful parts.

For all the intensity of Krieps’s performance and the power of the piano repertoire, Hold Me Tight proceeds through the mourning process with a strange detachment, using Clarisse’s agony as scaffolding for ideas about memory and storytelling that seem more imposed on life than pulled from it.