The New York Times was also very positive about it and called it "overtly, ingeniously experimental in form" and talked about "the bruised lyricism" of the film being "rooted in intense, even discomfiting, empathy."
The New York Times was also extremely favorable, praising the movie as "blatantly, cleverly avant-garde in form" and discussing how its "wounded poetry" was "grounded in intense, even unsettling, understanding."