With a central character who at his most comically disoriented suggests Jacques Tati, Red Lights also owes much to Hitchcock’s gallows humor. But it is completely its own movie. And the reverberations of its deceptively easygoing ending should set off debates among analysts of sexual power games in film for years to come.
THE NEW YORK TIMES
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An intensely well-acted thriller. Kahn fills the film with sinister suspense and surprising turns.
LOS ANGELES TIMES
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Imagine a bleak and edgy feature-lenght episode of Mr Bean co-directed by Robert Bresson and Vincent Gallo. Then imagine that it’s actually rather good. Dark and unconventional, this road thriller by Roberto Succo’s director Cédric Kahn gets under the skin in ways that it’s not easy to rationalise, and which have little to do with textbook Hollywood script structure… Kahn’s grasp of dramatic timing and a standout performance by Jean-Pierre Darroussin will win over the waverers and with the strong critical response that Red Lights can be expected to generate, it should be a solid performer.
SCREEN INTERNATIONAL
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Cedric Kahn has reinforced his formidable reputation with Red Lights, a thriller updated from a Georges Simenon novel. This turned out to be a classically elegant and gripping French film to thaw the freezing Berlin winter.
THE GUARDIAN
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Splendidly sinuous twister “Red Lights” sees Kahn take his game to the next level.
VARIETY
Read entire article sinuous twister “Red Lights” sees Kahn take his game to the next level

Impressive… a director who likes to push characters and situations to extremes, and he does so again in this film… an absorbing stop en route to a masterpiece.
THE TELEGRAPH
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