Every one of the nine reviews is positive. The praise centres on Poh Si Teng’s refusal to look away: critics single out the hospital scenes in Gaza, the graphic footage of the injured and dead, and an early argument among the doctors over whether such images should be shown at all, which Variety takes as setting the film’s moral purpose. The three American physicians, of different faiths and backgrounds, are widely found to be strong subjects, and their differing approaches to advocacy once home give the film its shape.
The reservations are small and scattered. Screen Daily finds the timeline muddled by inconsistent intertitles and a structure that hops between continents. The Hollywood Reporter thinks the closing montage of destruction unnecessary. The New York Times finds the American footage less immediate than the hospital work. The spread is narrow; the most enthusiastic notices come from the later release rather than the festival run.