[After] Nadir shoves his father’s working-class caretaker down a stairway and the two find themselves wrapped up in a protracted lawsuit, perspective becomes as important at it is ever-shifting; justice proves too nebulous a concept to pin down and the characters, flailing frantically to keep their heads above water, find the legal system only as functional as one is capable of maneuvering within it (class proves an advantage here, but so, too, is eloquence and persuasiveness; whether that’s “cheating” or unfair is up to us). The truth, it seems, is less important than how well it’s articulated. In the end, this is a deeply moral film about an array of complicated issues—the corrugated surfaces of morality and truth, the porousness of law, the wiggle-room within ethical principals—and if we don’t think it’s about us we’re truly missing the point.
— Calum Marsh (Slant Magazine)

