Torres’ feat is that he playfully weaponsies the decaying reels representing the personal trauma of Liz Alindogan, “into a multi-layered exposé of the oppression that exists both at the filmmaking set and in the country under the Marcos regime.” —Oggs Cruz, Rappler

“Transforming documentary and fiction with wild freedom. Torres confirms that celluloid continues to be a living matter, redeemable when it was believed doomed, salvageable when it was considered lost, impeller of the most innovative creation when it was supposed to be obsolete.” — Javier H. Estrada, Filmadrid