Jean Roy, "Alain Resnais, cinéaste d'un jeunesse insolente", in L'Humanité, 4 novembre 2009.
lemonde.fr
Jacques Mandelbaum, "Les Herbes folles", in Le Monde, 3 novembre 2009: "Il faut le dire avec infiniment de tact et de circonspection, mais ce film dont le génie consiste à avoir un pied dans l'enfance et un autre dans la tombe ressemble à un adieu d'une folle élégance, d'une bouleversante sérénité"; ["One should say it with the utmost tact and caution, but this film, whose genius consists in having one foot in childhood and one in the grave, is like a farewell of extraordinary elegance, of overwhelming serenity"].
leparisien.fr
Renaud Baronian, in Le Parisien, 4 novembre 2009: "'Les herbes folles' ... prouve, par son côté totalement allumé et rocambolesque, qu'Alain Resnais, 87 ans, demeure le plus vert et le plus audacieux de nos cinéastes"; ["'Wild Grass' proves, in its utterly luminous and extravagant character, that Alain Resnais, at 87, remains the freshest and most daring of our filmmakers"].
rogerebert.com
Ebert, Roger. «Wild Grass», 14-07-2010. [Consulta: 30 octubre 2017]. «"The film is a visual pleasure, using elegant techniques that don't call flashy attention to themselves. The camera is intended to be as omniscient as the narrator, and can occupy the film's space as it pleases and move as it desires. Here is a young man's film made with a lifetime of experience."»
Peter Bradshaw, in The Guardian, 21 maig 2009: "Alain Resnais's Les Herbes Folles is a gentle, faintly frivolous but subversive French comedy that was adored by some and left others with nothing to offer but a shrug. It has a sense of humour to which you must be finely attuned: if your radio dial is, as it were, fractionally off, you will not receive the signal. I have to admit that an awful lot of the time I got nothing but crackling and whistling. At other moments, Resnais's distinctive music came through."
timeout.com
Geoff Andrew, Time Out online, retrieved 29 març 2010: "This latest confection, light as a soufflé, effervescent as a glass of cold champagne, and bittersweet as chocolate, feels like a summation of all the best things in Resnais' oeuvre."
variety.com
Jordan Mintzer, in Variety, 20 maig 2009: "For the first hour, the narrative dances around the couple's numerous miscommunications, and Resnais keeps things interesting and surprising by delving into techniques that hail back to classic studio filmmaking. Employing several impressive pans, push-ins, and crane shots, the camera ... is forever roving, but manages to hit the perfect closeup when one of the actors delivers a pivotal line."
