A social and psychological drama, “Lucien Brouillard” is an intriguing film “which does not allow the spectator to be bored for a second. There is no reference to this type of film anywhere in Quebec cinema”.

Manon PECLET, Dimanche-Matin, March 20, 1983

You’ve dreamed of a film that speaks of real problems and the real everyday world? Here you are. (…) You can feel a new tone, a direction that is unlike any other, at least in Quebec cinema. Here is a director who has a feeling for rhythm and who knows how to strike a balance between strong emotions.

Luc PERREAULT, La Presse, March 26, 1983

This first feature film of fiction by Carrière is quickly being discovered. No time wasted, no chatter and even less superfluous images. (…) a sensitive film full of substance, touching by moments (…)

France NUOVO, Le Journal de Montréal, March 26, 1983

(..) the social milieu is portrayed vividly and accurately, so much so that the character of Lucien Brouillard and his surroundings blend and become one strength, one presence. It is clear that Bruno Carrière has a feeling for images. His production is full of energy, profoundly cinematographic, and he has made use of his limited $600,000 budget to the maximum.

Richard GAY, Le Devoir, March 26, 1983

Pierre Curzi is marvellous as a working-class Quebecer whose battle for right is finally self-destructive. Carrière is a convincing director of both actors and narrative, and he's packaged the movie with clean, unpretentious technique.

Anne REITER, Cinema Canada, May 1983

First feature from Montreal helmer Bruno Carrière, its plusses are intelligent, thought-provoking script, first-class acting and imaginative direction. Pierre Curzi as Brouillard and Roger Blay as Martineau turn in marvelous performance, ably supported by Marie Tifo as Brouillard's wife who supports him until even she can endure no more. Tech credits are fine.

DOGO, Variety, June 29, 1983

Lucien Brouillard by Bruno Carrière (Canada), one of the most perfect first features of the festival (Mannheim) with regard to filming (…)

Film-Korrespondenz, October 25, 1983