Don't listen to the Hype. It's awful

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Story: It's very simple but honestly that is fine.

Departure is a masterful examination of four people whose individual worlds are in disarray. Young men haphazardly figuring out their place in the world, a middle aged having to address the truth about their marriage.It's definitely not a feel good film nor is it as heavily focused on the queer relationship as the trailer suggests. Departure is one of the better looking films I've seen in a while. Almost every scene could make an intriguing photograph. The film is realistically atmospheric. It's also one of the rare films where long shots of the characters just staring and thinking actually conveys meaning.The beauty of the film and the portrayal by the actors makes Departure worth watching.

Excellent film. Beautiful backdrop of rural Languedoc in autumn, natural peaceful and unspoiled whilst the lives of the characters portrayed are anything but. I do not agree at all with those reviewers here who give the movie a panning. I thought it was very sensitively handled and there was a lot of authenticity and insight into young Elliott's first gay fumblings. Yes, some bits of dialogue and screenplay were a bit clunky and wooden, especially when the father arrived towards the end of the film. But I really enjoyed the interaction and exploration between the two young men: lonely young gay English lad bored with his mother on holiday bumps into sexy athletic moody young Frenchman , OK you could say it is 'cliched', but so much of our lives are unoriginal, but no less exciting when it happens to us for the first time at that age. I saw a lot of myself in Elliott.One of the most enjoyable gay movies I have seen in a long time. And the fact there was very little sex in it was not a problem at all. It improved the narrative. Less is more in this case. Well done Andrew Steggall.

Well, what can I say about a film with such an elegant and wonderful portrayal of coming of age and more than one coming out. It emphasis and tackles the crippling issues of contemporary society, a truly unique story about depression, marriage, love, sexuality, and youth. Its refreshing to see a film about young homosexuals and it not being polluted by sex or stereotypes, but don't get me wrong, there are elements of sexual passion, but it first and foremost is a story about love. The cinematography parallels the story-line while being unique on its own. The music by Jools Scott, an amazing musician whom I've had the pleasure of talking too, creates an amazing soundtrack that is minimal by having wonderful moments of reflective silence. My only critique (for the movie in its entirety) would be that the final song before the credits didn't quite emulate the emotion of the scene. A piece that Jools had shared with me (that I will not name for copyright reasons) would of better suited that ending. The ending in its self was abrupt, slightly disappointing, however, very much appropriate. It was only disappointing because it left me wanting much more, but I soon realise after watching the film that if there was more it might of ruined the magic of the film, this ending allows for viewer interpretation and highlights how life moves on. This film is true art, and should be available worldwide, even studied in schools as it is a real account of LGBT love showing how it is like every other love. It is a must see and I can assure you that I will watch it many many more times. It has my highest approval.

Andrew Steggall's lovingly directed first feature is a breath of fresh air in the British cinema scene. What at first sight looks to be a quite familiar LGBT coming of age story is turned by Steggall and his lead actress, Juliet Stevenson, into a far deeper and more engaging story. Elliott's (Alex Lawther) discovery of his own sexuality is beautifully framed against the collapse of his parents' marriage and their discovery that their lives had been based on falsehoods that, in some sense had crept up on them unawares. This is a film that will reach out far beyond the LGBT market and should do well across the European art scene. Very finely and delicately shot in the Languedoc region of France it establishes Steggall as a truly new voice in British cinema - not just composed and assured in the medium but with a distinct aesthetic of his own. It will be fascinating to see where he goes in his next feature - surely a larger and even more ambitious project.