Ossi, on the other hand, seems overwhelmed by Wessi's modern attitude towards life and is even more unsettled when she realizes her sister is falling in love with the older neighbor.

A Mongolian woman disillusioned with the West returns to her native land to visit her sister in Uisenma Borchu's sexually liberated drama of the steppes.

[3]Kaleem Aftab of Cineuropa wrote in the Berlinale Panorama Review on 'Black Milk' that Uisenma Borchu brilliantly deconstructs her life in Germany, the dominance of the male gender, and the almost colonial dismissal of her desire to go and visit her sister in Mongolia, a country she left as a small child.

On the visual style of the movie Aftab wrote that the cinematography of Sven Zellner captures the vast landscape and beauty, but also offers a darker and more raw view of a land that is so often romanticised on film.

[4] Deborah Young of The Hollywood Reporter wrote that the tech work of 'Black Milk' is warm and modern, beginning with DP Sven Zellner's switch-hitting between open air vistas and the dreamlike intimacy of the women indoors and in their fantasies.