TIFF 2023: All the Light We Cannot See Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

The following is a spoiler-free review of all 4 episodes of All the Light We Cannot See. The first two episodes will be screened during the festival

When it comes to using history as a backdrop for a film or a series, it is easy to get caught up in its events and its corresponding stories take a hit as a result. All the Light We Cannot See, a 4-episode miniseries based on the book of the same name by Anthony Doerr, is a historical drama that saw a pair of opposite characters and their fight to survive a WWII-torn Europe. While there was plenty of darkness to be had but within that darkness laid light that we cannot see though is still there. As grim as it may seem, darkness is temporary and light is forever and where there is light, there is hope. Marie-Laure LeBlanc (Aria Mia Loberti) is a blind teenager exiled to the seaside town of Saint-Malo alongside her father Daniel (Mark Ruffalo) following the Nazi occupation of Paris. Meanwhile, their other mission had them safeguarding an illustrious diamond with alleged special powers. Hunted by Sergeant Major Reinhold von Rumpel (Lars Eidinger), a ruthless Gestapo officer who pursued the diamond for his own selfish reasons, he was merely one of their many problems as they found themselves in the middle of the resistance.

A major part of the series and what connected the characters was the radio. Finding refuge in broadcasts from a man known as ‘The Professor,’ they expanded Marie-Laure’s knowledge and above all else, provided a nice distraction. Gravitating towards radios at a young age, she took after her hermitlike and former soldier uncle Etienne (Hugh Laurie) who spent most of his days reeling from his experience on the battlefield and transmitting clandestine radio broadcasts for the resistance. On the other side was Werner (Louis Hofmann), a genius young soldier tasked to shut down illegal broadcasts. However, there was something different about Marie-Laure and her outlook which made for a stark contrast from his upbringing. In spite of the obvious risk, there was something that drew him to her as she gave him hope. Little did they know, there lives had a lot in common. Weaving back and forth in time, the story shows their evolution over the course of the war and how they were shaped by their circumstances. Through all the obstacles and adversities, it was only inevitable that they would find each other at just the right time.

On a technical level, All the Light We Cannot See does a decent job at recreating its period setting while the many shots of its mostly-seaside setting are beautiful. An already walled-off town for which the Nazis used to their advantage against its residents, Saint-Malo felt especially isolated which added yet another level of tension. The most memorable aspect and what ties it all together is its score and its uncanny ability to work with each moment. In terms of performances, Loberti and Hofmann were the easy standouts. Loberti, in her first acting role, absolutely shines despite the added hurdle of being blind in real life. Hofmann brings a likability and a vulnerability that makes it easy to connect with his unwitting participant character. That being said, for a French story, accents seemed optional as some nailed it better than others and that could be a distraction. Though Ruffalo and Laurie made the most out their roles, they perhaps fell into that category.

At the end of the day, All the Light We Cannot See is a compelling historical character drama that makes the most out of its short running time. It does enough to get its core story right but one can’t help but think it could have done more.

still courtesy of Netflix

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.