Citation :
« While [Joyce] Wieland would eventually return to the experimental format, The Far Shore represents a flamboyant and self-reflexive embrace of melodramatic narrative conventions. [...] Replete with its quota of signs and fuelled by the fetishistic pleasures of period costume and decor, The Far Shore presages the current mania for feminist costume dramas in films like The Piano, Washington Square, Sense and Sensibility, and so on. »
-- Brenda Longfellow

Source :
LONGFELLOW, Brenda. « Gender, Landscape, and Colonial Allegories in The Far Shore, Loyalties, and Mouvements du désir » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999. [en anglais] (p. 167)