In a recent edition of Variety, Joe Weissberg wrote a review of Limbunan:
"Set in 1989 when Muslim rebel forces were easing resistance in expectation of government concessions, the [film] tries to position the political situation as an ever-present backdrop but is far stronger when concentrating on the female-centered house and the clash between accepting elders and questioning youths...
Mangansakan succeeds nicely in granting value to the customs of the Moro people of Mindanao, incorporating lovely-to-look-at ceremonies that never feel gratuitously ethnographic."
Italian critic Davide Turrini has pointed out the film as “a valuable work of stylistic finesse.”
In a conversation with Bruno Torri, head of Italian Critics Society, he noted that it is “an interestingly silent film that speaks a thousand words.”
Another Italian critic, Cristiana Paterno, said the film’s "slow pace of this astounding film, a serene elegy within the closed sphere of contemplative cinema… it seems to be a scream of sorrow, silent yet deafening like Munch’s scream, emanating from the reality of the Philippines."
Paterno added that while "Limbunan proposes no clear alternatives to the status quo. It does not upset conventions. It just demonstrates them with the clear vision of someone trained in documentaries and journalism. With deep respect for the customs shared by a culture."
Limbunan was the first film from the Philippines to be invited in the International Critics Week section of the prestigious Venice International Film Festival.