Miami Herald by René Rodríguez

Flowers is a quiet, eloquent movie about big, overwhelming emotions, and the constant presence of its eponymous plants, in all kinds of colors and shapes, is a metaphor for the ways in which we respond to what life throws at us, be it a sudden trauma, a perpetual state of melancholy or an unexpected opportunity for romance. Some people blossom and bloom; others wither and give up.

The Hollywood Reporter

Flowers is an emotionally precise, subtle and quietly gripping exploration of the romance and remembrance that they evoke.

The Hollywood Reporter by Jonathan Holland

Flowers is an emotionally precise, subtle and quietly gripping exploration of the romance and remembrance that they evoke.

The Playlist by Gary Garrison

Letting such a film slip into the melodramatic could have been very easy. But Garaño and Goenaga tactfully navigate the delicacies of death and the difficulties (and guilt) of life with a quiet poise that make for a film that is as enriching as it is disheartening.

Washington Post by Michael O'Sullivan

The movie, for all its uneventfulness, is intensely memorable.

The Seattle Times by Soren Andersen

The flowers in Flowers are touchstones, reminders of a person, but more significantly of the conflicted feelings shared by the three main women in the picture.

Variety by Jay Weissberg

The three lead actresses, beautifully cast, form just enough of a contrast to each other to create extratextual tension while maintaining a high degree of sympathy.

Entertainment Weekly by Chris Nashawaty

The film is undercut by long metaphorical stretches that dampen their impact.

Slant Magazine by Chuck Bowen

Everyone heals, or doesn't heal, on cue, and the initial pathos of the narrative is dulled by the architecture of its through lines.

The New York Times by Andy Webster

To its benefit, it has rich roles for, and splendid performances by, its three principal actresses. To its detriment, their characters are each in their own way pining for the same man, whose simple actions in life seem undeserving of their considerable exertions after his demise.

Village Voice by Abby Garnett

Pulled in too many directions, the film's subtle mood-building starts to feel intentionally oblique, the force of its characters and symbols lessened by a frustrating circuitousness.

Los Angeles Times by Robert Abele

Flowers is too exquisitely formalist — symmetric framings followed by willfully asymmetric shots — to ever feel flushed with real feeling.

RogerEbert.com by Godfrey Cheshire

It contains nothing to offend, but nothing to surprise or inspire, either.