[2] Writers Raúl Manrupe and María Alejandra Portela characterized the film as having "black and white footage without any explanation, red as the dominant color and camp carried to its ultimate consequences.

"[4] Nevertheless, in a 1974 interview for magazine Siete Días Bó still claimed that his films "deal with social issues, but since Isabel acts in them, sex has implications in the argument.

"[5] This is explicitly the message that Bó wanted to give with the film, with a text reading at the conclusion: "The true pure love, without concessions, and the goodness of God will triumph over the violence and the wave of terror that invades the world.

"[5] With Carne, on the one hand, Bó seeks to denounce the violence and drama to which the worker is subjected and, on the other, to exalt the values of family, progress, work and love.

[8] In 2015, Télam placed Carne at number 4 in its list of "20 classic films of erotic cinema", considering it "the total representation" of Bó's work.

"[3] Argentine rock band Bersuit Vergarabat recreated part of the film in their 2004 music video for "La argentinidad al palo".

[13] American director John Waters claims to be a great admirer of Carne and has cited the films of Bó and Sarli as an inspiration.

When we play their movies here, people laugh with them, not at them: you can tell Armando was absolutely fascinated with this goddess, and there was nothing ironic in them, in any case they were pieces from another era, great innocent sex films, politically incorrect for our current standards.

I also love this other movie, I think it's called Carne, when Isabel walks to her work in a meat packing plant every day following the train tracks in high heels and with the complete look of a prostitute...[15]