Slant Magazine by Keith Uhlich

The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.

The Film Stage by Leonardo Goi

La Flor shares Extraordinary Stories’ ambitious scope and structure, but takes them to a whole new level of resolutely rebellious narrative freedom.

Los Angeles Times by Justin Chang

La Flor, as sweeping and addictive as much of it is, doesn’t have the structural predictability that a more conventional serialized narrative does. It’s too freewheeling, too experimental, too eager to carve out fresh avenues of meaning. At a time when duration is no guarantee of depth, it’s the definition of a must-see.

The Guardian by Phil Hoad

You will no doubt bail out at some point – but that’s part of the deal. Llinás has done enough to make sure we come back.

TheWrap by Michael Nordine

Everything about La Flor — that financiers agreed to bankroll it, Llinás and his team were able to complete it, and festivals, distributors, and exhibitors are now screening it — is a marvel. Anyone with a disdain for the studio system’s endless parade of franchises (and with 14 hours) to spare would do well to give it their undivided attention.

The A.V. Club by Mike D'Angelo

Some petals are admittedly prettier or more fragrant than others (and the film has serious stem problems), but there’s forbidding beauty in the sheer ambition itself.

The New York Times by A.O. Scott

La Flor is perhaps more fun to think about than to sit through, though there are some exquisitely beautiful sequences.

RogerEbert.com by Simon Abrams

Watching La Flor is like being on the last legs of a road trip with a group of people you’ve grown increasingly alienated from. Look at the happy artists, they’re having fun playing with themselves; good for them, can I go home now?