Highly rated on Rotten Tomatoes and Metacritic, it was lauded for its exploration of racial history and blending romance with political undertones.

Despite some noted technical limitations, critics highlighted its pioneering portrayal of black experiences and its significance in American cinema.

[3] Lastly, the film brings to the fore conflicts revolving around class and skin color, emphasizing the significance of heritage.

[6] Horace B. Jenkins filmed Cane River in New Orleans and Natchitoches Parish in the US state of Louisiana;[9] St Augustine Church in Isle Brevelle was used in some scenes.

[11] Sidney Poitier's daughter Pamela was originally cast as the female lead Martha Mathis, but she dropped out of the production and was replaced by Tommye Myrick.

[11] Two years after a negative resurfaced, The New York Times's John Anderson wrote, "It has attained a certain mythic quality, connecting a disparate group of people across the country: New York preservationists dedicated to restoring it; a cultural historian in Louisiana devoting an academic paper to it; an archivist in Los Angeles fascinated with it.

Spann found some scenes to be too long, a detail confirmed by the still-living editor Debra I. Moore, who said it was her first film editing along with a "first" for other crew members.

[22] The Academy of Motion Picture Arts and Sciences screened Cane River in Los Angeles on November 1, 2020, with a panel discussion featuring lead actors Tommye Myrick and Richard Romain.

[25] A month later, in support of the Black Lives Matter movement with the ongoing George Floyd protests, the service lifted its paywall for black-themed films, including Cane River, to be streamed for free.

[30] Richard Brody of The New Yorker praised it as a visionary work of art that seamlessly blends poetic cinematography with a compelling story.

[4] Mike Scott of The Times-Picayune emphasized its significance beyond cinema, calling it a cultural artifact,[5] a sentiment shared by Sheri Linden of The Hollywood Reporter who found the film revelatory in its blend of living history and romantic drama.

[7] In contrast, the film resonated less with Chuck Bowen of Slant, who appreciated its beauty and ambition but felt it lacked in narrative depth.

[8] Offering a more nuanced perspective, Roger Moore of Movie Nation characterized the film as dated, quaint, and tentative, while also acknowledging Horace Jenkins' efforts in presenting a distinct Black romance.

[4] Mike Scott highlighted Jenkins's ability to offer glimpses of various locations, adding a documentary feel to the film.

[5] Allen described Jenkins's direction as offering a unique cinematic valentine, highlighting the romance and resistance themes.

[3] Jenkins and cinematographer Gideon Manasseh's work has been described as capturing the fullness of nature, with Brody noting their emphasis on the beauty and vitality of the landscape.

[4] Linden offers additional praise for Manasseh's cinematography, stating that it embodies potent documentary-style visuals that are evocative and atmospheric.