[11] Leslie Felperin reviewing the film for The Hollywood Reporter termed it as "Top-drawer humanist cinema," and opined, "From Hilde feels tidy and complete, speaking like its heroine with a soft still voice about the importance of love, and the deep need to do something right, no matter how small, to defy corrupt, monstrous regimes.

Bray mentioned Judith Kaufmann writing, "his cinematography, leaning into the sylvan charms of the Red Orchestra’s hangout, underscoring the brutality of the prison environment to which the film constantly returns."

Bray praised Jörg Hauschild for doing "a good job balancing the edit between these two kinds of scene, with the prison narrative proceeding in a linear fashion to its grim conclusion, while the vignettes from prior to Hilde’s arrest jump forwards and backwards in time."

"[13] Lee Marshall reviewing for ScreenDaily at Berlinale wrote, "The story of the German resistance to the Nazi regime has been told before in books, documentaries and fictional features, but rarely so freshly and movingly as in this account..." Praising performance Marshall wrote, "Liv Lisa Fries gives a compelling performance as a woman who at first, the film suggests, was something of an accidental revolutionary, brought into the anti-Nazi resistance through her love for the man who in 1941 would become her husband."

Concluding Marshall said, "... in its final act, the film builds to a dramatic, moving crescendo, it does so not by hammering away at the injustice of Hilde’s fate – that’s a given – but by celebrating the small joys of parenthood, the touch of a lover’s skin and the adrenalin of a common cause.