"[2] Derek Elley of Variety argued that the film, despite "excesses," has a "strain of irony" that remains constant and that it has an "off-center, ironic flavor.

"[3] Karalis argued that it was derivative of Nikolaidis' earlier films and that it "confirmed the fossilization of a visual style which had transformed itself into a self-conscious manneristic extravaganza.

"[2] Karalis compared the film to Luis Buñuel's 1967 Belle de Jour and Pier Paolo Pasolini's 1975 Salò, or the 120 Days of Sodom.

[2] In November 2005, after the film's completion, due to the fact that it failed to replicate the earlier success of Singapore Sling (1990), Nikolaidis declared his intention to stop making movies in order to deal with music.

All of that is ruled by the impossibility to escape a precise role – the only one that manages to get outside the door of the brothel returns inside by her own decision – together with the knowledge that there is no future and that the outside world is worse than the prison.