Boston Globe
– Wesley Morris

This is a warm, deftly made film that uses the humor and tenderness in Yoon 's performance to dramatize the artistic and emotional depths we don't know we have. Lee, making his first film since 2007's Secret Sunshine, is astoundingly skilled at maintaining a perfect tone. This could have veered into a comic thriller, like Boon Joon-ho's Mother, or an all-out melodrama. But Lee modulates his touch just enough so that the film's bizarre moral and sexual turns don't derail what is essentially a life-size movie about loss and self-discovery. Afterwards, I ran into a friend outside a sandwich shop who had just left the Palais, and we did something I hadn't ever done here. We sat at a table outside and cried in the rain.