There it is common, as in other Mexican cities, to designate the legal areas for prostitution as zonas de tolerancia (tolerance zones).

Critics and audiences responded more with respect for Glawogger's self-described "cinematic triptych on prostitution"[1] than outright praise.

[3] Andrew O'Hehir, writing for Salon, applauded "the film's insistence that the women Glawogger meets ... remain defiantly individual, even in the face of a system of sexual and economic exploitation they cannot (or at least do not) resist.

"[4] Similarly, Stephen Holden, of the New York Times,[5] and Michael O'Sullivan,[6] of the Washington Post, praised the film for the non-judgmental stance it takes towards the sex workers it encounters.

Finally, critics seemed to praise both the remarkable amount of access granted to Glawogger in shooting Whores' Glory and the hands-off approach he adopted.