"A film to reach one's heart. Laila Hansens film gets closer to the life of these women than the written word has ever done. Without approaching emotional pornography, which in recent years has been a predominant tendency in many documentaries. - Speech is uninhibited, and the pictures and conversations bring people to life to the extent that they creep under one's skin. You come to love them, because Laila Hansen portrays their rough fate with love and empathy. - An almost poetic incursion among a group of often homeless people ... "(Christan Schultz-Lorentzen, Grønlandsposten AG)

"A grim portrait, but full of solidarity. A touching and thought-provoking essay." (Ole Hoff-Jessen, Ritzau)

***** "An extraordinarily moving experience." (Ebbe Iversen, Berlingske Tidende)

"Danes have previously treated the subject. This film is different. Created by an actress who thinks in terms of dramaturgy and understanding the subtext behind the words. Quite different, full of solidarity and social empathy, garnished with beautiful music from Greenland." (Anne Mette Ahlgreen, Kristeligt Dagblad)

"So moving, that it makes one understand and empathise with the women." (Dorte Hygum, Politiken)

"A gripping, provocative portrait." (The Copenhagen Post)

"As a poetic document, Laila Hansen's film is impossible to reject." (Lars Movin, Information)

"Definitely worth seeing". (Ulla Hass Pedersen, Arbejderbladet)

"A gripping little film." (Vibeke Steinthal, Femina)

"A soft-spoken, attentive film that easily finds a place in Danish documentary tradition. Powerful and relevant." (Johs. H. Christensen Jyllands-Posten)

"An insightful, beautifully made film. It's a story familiar to West Indians in London or Filipinos in Los Angeles -- illusions crushed like matchsticks. Inuit director Laila Hansen shows how a specific history leads these women from abusive homes in Greenland to the bottom of a Danish beer bottle. Hansen gets close to the subjects of her film and lets them tell their stories." (Cameron Bailey, NowToronto, October 31, 2002)

"A true pearl, an insisting and sorrowful work directed with great sernsibility. It is very touching. The film is a magnificent blues (Odile Tremblay, Le Devoir, Montréal, June 15, 2003)