‘This quietly arresting first feature by Austin Lynch, son of David, certainly lives up to the family name in its cultivated, charcoal-hued strangeness… Viewers are given few overt clues as to how to join the dots between the film’s heartfelt interviews with male oil-field workers and female prisoners, along with more abstract digressions across the American class spectrum.’
- Variety

‘Matthew Booth’s photography is stunning, capturing natural colour blends evocative of screen printing, and remote boxy structures reminiscent of William Eggleston.’
- Sight & Sound

‘Paints an expression of the human experience, from toil to tranquillity, with strikingly beautiful photography and haunting ambiguity’
- Dazed

‘Astonishing use of cinematic language to create a profound sense of human isolation’
- CPH:Dox Jury

‘This quietly arresting first feature by Austin Lynch, son of David, certainly lives up to the family name in its cultivated, charcoal-hued strangeness… Viewers are given few overt clues as to how to join the dots between the film’s heartfelt interviews with male oil-field workers and female prisoners, along with more abstract digressions across the American class spectrum.’
- Variety

‘Matthew Booth’s photography is stunning, capturing natural colour blends evocative of screen printing, and remote boxy structures reminiscent of William Eggleston.’
- Sight & Sound