Citation :
« One specific moment [in The Far Shore] perfectly combines a dominant discourse that depicts the theme of patriarchal relations and a subversive discourse that critiques realist cinema practices. It is a scene two-thirds into the film when Eulalie, alone in her bedroom, feels fully the claustrophobic entrapment of her marriage. The film irises into a closeup of Eulalie which fades to a white iris framed in red. The image slowly fades up to a a canoe crossing a lake within the iris, and the then camera irises out so that the landscape image fills the entire frame. The tour de force of such an image-transition has multi-level effects. [...] »
-- Lauren Rabinovitz

Source :
RABINOVITZ, Lauren. « The Far Shore: Feminist Family Melodrama » , ["[Originally published in] Jump Cut 32 (1987): 29-31."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999. [en anglais] (p. 126)