"... steeped in melancholia, involuntary schadenfreude and a sense of spoil that is both anachronistic and transcendental. A collection of stereoptic medical photographs, a menagerie of unseasonable decay, surfaces throughout the film, arriving in negative haloes of blue haze only to deetherealize into restored pictures of positive deformity. Flesh and spirit are pitted against the industriousness of corrosion with wearying vigilance, as owls transform from sentinel guardians into mocking gargoyles in the twinkling of an eye. The plangent correspondences between emulsion and mortal flesh, editing and surgical suturing and taxidermy, collecting and cataloguing as craft, science and mania, are established directly or in innuendo."
- Mark McElhatten, New York Film Festival, Views From the Avant-Garde