Quote:
"[Sifted Evidence] occupies at least two temporal registers in its narrative about a woman who recounts her trip to Mexico in search of evidence of female deities at the ruins in Tlatilco. The first register is rather like an ethnologist's seminar, complete with slide-show, maps, and artefacts. The second is the memory (repressed by the space of ethnographic knowledge) of the journey itself where she attempts to learn Spanish; finds and loses her way in a 'foreign' country'; meets a Black, Spanish-speaking man, for whom she has an equivocal attraction; and in the dark of night arrives, finally, at the ruins, which contain merely the detritus of colonialism."
-- Susan Lord

Source:
Lord, Susan. "The Scene of the Crime: Genealogies of Absence in the Films of Patricia Gruben." In Gendering the Nation: Canadian Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault. Toronto: University of Toronto Press, 1999. (p. 151)