Жас Адам: Фильм туралы сын-сараптар мен фестивальдар жолы

The film was scored by David Byrne and the soundtrack was released under the title Lead Us Not into Temptation. The film was screened in the Un Certain Regard section at the 2003 Cannes Film Festival. It was also shown at the Moscow Film Festival, the Edinburgh Film Festival, the Telluride Film Festival, the Toronto International Film Festival and the Athens Film Festival before going into theatrical release in the UK on 26 September 2003. It earned $1,135,673 in the United Kingdom and $2,561,820 worldwide. Talking about the rough sex scene with Ewan McGregor, Emily Mortimer said, "There's something really liberating about letting it rip and just going for it. There's no way in real life you'll ever be allowed to get up to all that I mean, unless you were really into kinky stuff."

Young Adam holds a approval rating on review aggregate Rotten Tomatoes, based on reviews, with an average rating of The critical consensus states that the film is "A grim mood piece with good performances from the leads." On Metacritic, the film has a score of 67 out of 100 based on 32 critics, indicating "generally favorable reviews". Philip French of The Guardian called it "a cleverly constructed film that holds the attention throughout its economical 95 minutes. The naturalistic acting has considerable power, with Tilda Swinton giving a characteristically unself regarding performance and Ewan McGregor steering clear of easy charm. But it is a depressing film exuding hopelessness and inviting us to pity the characters rather than share in their tragic condition." A. O. Scott of the New York Times observed, "The storytelling is deliberately disjointed, jumping back and forth in time without warning, so that the meaning of events and the connections among them emerge retrospectively. This creates a mood of unease and dislocation, a noirish dread that persists even after certain crucial mysteries are solved. The narrative scheme, the brooding period atmosphere, the understated score (by David Byrne) and the precision of the acting also make the story seem more interesting than it is. Joe, though in some ways fairly passive, is sexually voracious as well as sexually irresistible . In the end, Joe's sexuality, while exhibited with quite a bit more explicitness than the old movies would permit, is also what makes Young Adam feel most dated. Its view of male narcissism, as expressed through erotic need, is not only uncritical but also pretentious. The film follows the novel (and many others like it) in assuming, rather than proving, that its hero's selfishness and failure offer clues to the human condition, rather than evidence of individual limitation." Manohla Dargis of the Los Angeles Times observed, "Unlike the novel, which is written in the first person . the film assumes a markedly less claustrophobic, less personal point of view. Everything happens more or less through Joe's eyes, but Mackenzie, having rejected a voice over narration, never gets inside the character the way Martin Scorsese gets inside Travis Bickle in Taxi Driver . While the novel turns Joe into a question mark, Mackenzie takes a more palatable, less ambiguous approach to the character. The casting of McGregor also softens Joe. Even tamped down and without his easy smile, the actor conveys so much natural charm he's a sorry excuse for a moral void. These changes compromise the adaptation but generally improve the story since Trocchi's existentialism has neither the heft of Jean Paul Sartre nor the pulp pleasures of James M. Cain. Mackenzie may have realized the shortcomings in Trocchi's prose or decided he didn't want to condemn his film commercially. Whichever the case, he has greatly tempered the story's brutality the old fashioned way: He puts an appealing, sympathetic star at the center and surrounds him with beautiful visuals, with a darkly contrasting color palette of bruising black and blue." Mike Clark of USA Today noted, "This movie is so much the opposite of uplifting that you think Gary Oldman ought to be in it. But it's honestly made, and its second half does linger in the memory." Derek Elley of Variety called the film "strongly cast" and "a resonant, beautifully modulated relationships drama" that "establishes Mackenzie as an accessible stylist within mid range [contemporary] British cinema.

BAFTA Scotland named it Best Film and honored Ewan McGregor as Best Actor in a Scottish Film, Tilda Swinton as Best Actress in a Scottish Film, and David Mackenzie as Best Director. McGregor, Swinton, Mackenzie, and the film all were nominated for British Independent Film Awards. The Director's Guild of Great Britain nominated Mackenzie for the DGGB Award for Outstanding Directorial Achievement in British Film. He won the award for Best New British Feature at the Edinburgh International Film Festival and the London Film Critics' Circle Award for British Newcomer of the Year. London Film Critic's Circle nominations went to the film for Best Film and Ewan McGregor for British Actor of the Year, Tilda Swinton for British Actress of the Year, Emily Mortimer for British Supporting Actress of the Year, and Mackenzie for British Director of the Year and British Screenwriter of the Year.

The Region 2 DVD was released on 29 March 2004. The Region 1 DVD was released by Sony Pictures Home Entertainment on 14 September 2004. It is in anamorphic widescreen format with audio tracks in English and French and subtitles in French. Bonus features include commentary by screenwriter/director David Mackenzie; commentary by Mackenzie, film editor Colin Monie, production designer Laurence Dorman, and actress Tilda Swinton; narration by Ewan McGregor that was deleted prior to the film's release; and an extended scene.