Quote:
"[In The Far Shore, Joyce] Wieland employs dramatic expressionistic light to intensify colour and often imitates a Baroque painterly illusionism. The mise-en-scène is simultaneously a visual correlative for the intense emotional crises of the heroine and a photographic encapsulation of European and Canadian art history; it relies upon such an extended play of painterly homage that it ruptures the smooth illusion of cinematic realism. As self-consciously composed 'forgeries', Wieland's images contradict the notion that they represent photographic material of a natural world."
-- Lauren Rabinovitz

Source:
Rabinovitz, Lauren. "The Far Shore: Feminist Family Melodrama." ["[Originally published in] Jump Cut 32 (1987): 29-31."] In The Films of Joyce Wieland, edited by Kathryn Elder. Toronto: Toronto International Film Festival Group, 1999. (p. 123)