Film critic Peter Bradshaw noted "striking" similarities between Bakatakis' work in Dogtooth and Attenberg, saying that "their demystified, almost countererotic nudity and sex scenes" were notable identifiers.
[6] A. O. Scott of The New York Times shared Bradshaw's opinion, citing that both Tsangari and Lanthimos utilize an "unblinking shooting style, with wide shots, minimal camera movements and off-kilter compositions that combine to create a dreamy, anxious mood".
Scott also noted Bakatakis' "beguiling blend of detachment and empathy — the camera sometimes lurking like a spy, sometimes trailing along like a shy, devoted friend".
"[15] Eric Kohn of IndieWire praised the film's "visual polish", noting Bakatakis' "warm palette that's particularly evocative during the bedroom scenes, when deep yellows appear to manifest the characters’ state of mind.
"[16] Film critic Justin Chang similarly praised the use of colour, saying that "bathing the men's bodies in a golden, soft-edged light warmly captured by Thimios Bakatakis' Super 16 photography, [Sachs] folds his characters in what feels like a tenderly protective embrace".
[3] Guy Lodge of Variety complimented Bakatakis as "an invaluable ally" to Lanthimos, praising his boxy, formal framing and bilious color palette reveal much about the restrictions applied to the people within them".
[22] Chang again praised Bakatakis' work, saying that "the meticulously composed images...at times convey the uncanny sensation of peering into a zoo enclosure, the better to study the mating habits of a vaguely familiar and frankly preposterous species".
[21][24] Later that year, Bakatakis lensed another directorial debut, Benedict Andrews' drama Una,[25] before again collaborating with Lanthimos for the 2017 film The Killing of a Sacred Deer.