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If even the Hollywood director can make a mistake why wouldn’t Julius Ševčík make one? But in case of this movie it is a great pity. It has a great premise and great performances of European actor selection, mainly Carice van Houten portrayed probably the best character (if I don’t count Karel Roden portraying a role of an architect). But it doesn’t matter if there is neither plot nor timeline in this movie. Moreover the movie looks like its editing was made by some apprentice as well. For example the thrilling moment when the Gestapo gets into the house is cut after few seconds and followed by an unexpectedly slow-paced scene and it took me a minute to realize that we moved forward to the Communist era. And it is like that throughout the whole movie. Moreover lyricism is a nice thing but in a movie where you expect to find out something more about the Villa Tugendhat it is quite misplaced. I didn’t learn anything. There is an apparent attempt to make this film info a movie of quality but unfortunately it failed. What a shame. I was quite looking forward to this movie. There is not enough worthy premises in Czechia that we can afford to screw them up this badly. (03.09.2020)

I really like the development of Julius Ševčík's loose retro trilogy, Normal the Düsseldorf Ripper, A Prominent Patient, and The Affair. I didn't believe in him at first, but few people perceive the period atmosphere in such a high aesthetic quality. Anyone who is going just to see another Roden film will be disappointed, and anyone who doesn't understand that this is an adaptation of fiction from the pen of Simon Mawer will also be disappointed. But everyone else can have a truly extraordinary sensory experience. The idea of following a lesbian romance against the backdrop of the fate of a functionalist villa is simply beautiful. Hanna Alström and Carice van Houten are literally beautiful in their contrasting roles. I will gladly return to the emotions and images of this film. (25.03.2019)

I haven't read the book, but I think the main message of the film is that in order to obtain something good or beautiful, we often have to sacrifice something. This idea appears in The Affair from the very beginning, and the very last scene confirms it. I had no problem identifying with it. Moreover, the film is made at a world class level and Carice van Houten, who I already liked in many films, is absolutely breathtaking. Villa Tugendhat as an attractive venue and a silent bystander witness to all these events... It succeeded in spite of a few downright film clichés (making love during the night on 21 August 1968, for example). (15.03.2019)