The trajectories of Anne-Marie Stretter and the beggarwoman, told in the present tense by voices at the beginning of the film, are then retraced in reverse as history at its end. Within that join, India Song, like the fantasy, dramatizes an imaginary history of the subject, but one which, nevertheless, is marked by traces of time.'
Elizabeth Lyon, ‘The Cinema of Lol V. Stein’, in Constance Penley (ed.), Feminism and Film Theory (London: BFI, 1988)