Christian Science Monitor by David Sterritt

What distinguishes the movie is its inventive, multifaceted way of questioning whether the "truth" of past events can ever be separated from the memories, longings, and scanty evidence that inextricably surrounds it.

Village Voice by J. Hoberman

Unpretentiously poetic and casually stylish, yet perversely precise. Reconstructing the past, Carri seems to suggest, is akin to grabbing the water in a flowing stream.

New York Daily News by Elizabeth Weitzman

Because Albertina Carri spends so much time skirting relevant issues, her self-consciously experimental examination into her parents' murder feels like a worthy movie that simply wasn't ready to be made.

The New York Times by Dana Stevens

It is not so much a documentary as a fictional film about the making of a documentary, or perhaps a documentary about the making of a fictional film about the making of a documentary. If this sounds a bit maddening, it is, though the confusion that The Blonds induces is clearly part of its intention.

TV Guide Magazine by Ken Fox

It's a complex new approach toward putting memory to tape, and the result can be at times too theoretical, too personal and too opaque, but it's a consistently challenging work that's often sharply poignant.

The A.V. Club by Noel Murray

Grapples with tough subject matter, and earns a little leeway in its approach.

Variety by Deborah Young

Treads a delicate line between documentary and fiction to reconstruct the kidnapping and murder of director Albertina Carri's parents during the military dictatorship.