The film is often cited as one of the greatest in the history of Argentine cinema, and established Soffici as a "social" filmmaker.

It was selected as the greatest Argentine film of all time in the polls conducted by the Museo del Cine Pablo Ducrós Hicken in 1977 and 1984, while it ranked 6th in the 2000 edition.

The discovery of this two prints was crucial, due to the lack of a national cinematheque and protective cultural politics the original argentine negative was lost during the last century, and the only copy left in the country was a degraded 16mm.

Paula Felix-Didier, head of the Museo del Cine and principal responsibility of the restoration, said about the significance of this new copy: "This is a new possibility of seeing one of the fundamental films of the history of Argentine cinema again as it had been decades ago could not be seen, and once again having a deep heritage rescue to understand the history of Argentine cinema and its evolution".

[5] This 2019 restoration was first shown at the Il Cinema Ritrovato Festival in Bologna and later, in December, it was first screened in Argentina at the MALBA, in Buenos Aires.