"Plowmans Lunch is called a documentary because its intent was to explore actual occurrence, be it the building of the work, or what befalls the players. It still uses the structure of an open form although the characters are more developed: they have 'names' and some of the scenes were truly dangerous for them to produce. As in the other films (with the exception of Done To), there is a nucleus of three characters, two women (Boris and Jamiee) and one man (Steentje, a transvestite/hermaphrodite). The music, expressly composed for it, is harmonious with its developments. Cartoon-like framing and intense color give the film a composed, painterly quality. The story is about emigration; in contrast to Passage to the North it is 'out of the house.' A loose group of individuals consisting of young and old people, intellectuals and workers (blue and white collar), and a transvestite/hermaphrodite attempt to leave where they are and go, simply, somewhere else. They are a microculture and their machinations are revealed in highly stylized vignettes which are almost stories unto themselves and are strung throughout the film like a fisherman's buoys. Dutch and English, a smattering of French, German and Latin flow throughout the story like water." — Alice Weiner