Review by Zoë Rhinehart

The various intonations of these identity-related tensions are part of the beauty of the film, and it is difficult to not think of Collins in those terms, especially since Sara, who also taught at CUNY and strives to perfect her skills, seems to be her intellectual doppelganger. In addition, so many of the stereotypes that existed in the 1980s persist today; when the camera reveals Sara as the professor speaking in the opening classroom scene, it still comes as a surprise, considering how meager representations of women of color still are, and how marginal female filmmakers remain in the film sector today.