2:29 a.m., in the middle of the night: The young writer May (Brea Grant) looks over her balustrade and sees a stranger staring up at her in the dark. His face is distorted by a gel mask. Back in bed, Bea tells her husband Ted about the eerie encounter. But he reacts with disturbing indifference: "Honey, that's the man. The man who comes every night and tries to kill us." A fight to the death ensues. Ted manages to kill the burglar, whose body disappears within seconds. 24 hours later, the man is back alive and kicking in the pitch-black backyard, breaking into the house to kill Bea and Ted - night after night, while Bea's surroundings, the police, the family, meet her fear of death with equanimity... "What appears at first to be a typical home-invasion thriller is revealed as something much stranger, much more upsetting. 'Lucky' is more than its premise. 'Lucky' has something to say, and Grant has thought very deeply about the subjects of violence against women and trauma, as well as gender-based assumptions about these things. [...] Kermani balances the thrills and shocks with chilling moments of stillness, where May comes close to understanding what is happening. [...] All the broken glass around her is the façade of her denial cracking apart. (Sheila O'Malley, auf: rogerebert.com) "This clever thriller teeters on the brink of abstraction, and walks a razor wire between horror and an incredulous absurdity meant to stand for how women must live in the modern world: the daily toll of living in fear of aggression, physical assault and withstanding the misogynistic structures that excuse them. [...] Natasha Kermani’s film is an elliptical but vehement statement on the post-#MeToo landscape. If the film’s story development is stymied by the narrative’s ultimate stasis, it is to all the better point out that the fight is far from finished." (Phil Houd, in: The Guardian)