Tears for Sale featured 40 minutes' worth of special effects[citation needed] and over 100,000 metres (330,000 ft) of film, around five times more than the average used in Serbia.

Two sisters, Ognjenka and Mala Boginja from a fictional village that has no males of marrying age, set off for the city in search of good men to bring home.

[11] In similar vein, Politika's film critic Dubravka Lakić praises the movie's look, but has problems with its screenplay oversights, all the while feeling this "postmodern cheerful fairy tale for adults" is "more of a glamorously packaged oversized trailer than a story-based product with coherent beginning, middle and end".

[13] NIN magazine's Saša Janković was critical, calling the film "an example of Serbian megalomania" and adding that "its screenplay is incomplete while the direction is at times fairly arbitrary".

In between praises for the whole cast, Vlajčić especially notices director and writer Uroš Stojanović, "whose debut showed maturity in stylistic composition of a comedy that contains patterns of quite a few genres—from melodrama to fantasy".

[15] Todd Brown of showcase.ca and twitchfilm.net loved it, calling it "a remarkable film on a number of levels that manages what seems like an impossible task: balancing the tragic history of its home nation with a sense of legitimate magic and wonder".

[16][17] In Variety, Alissa Simon called the film "a postmodern allegorical tale" which "succeeds in poking fun at various Serbian national myths and symbols with its strong, lusty, independent women, eager-to-fight men and sacrilegious shenanigans in a hearse and among tombstones".

[19] Le Monde praised "the spellbinding atmosphere with flights of poetry, boisterous jubilation, and Yugoslav frenzy that brings the fever of Emir Kusturica to mind", but has issues with the "chaotic screenplay arcs drawn from Serbian folklore, culture, and history with codes that escape us".