[9] Tina Wasserman wrote in The New Art Examiner (1996) that, "For Subrin, as the visual metaphor of silence or speechlessness---evidenced primarily by the repeated use of white-out on the body, text, and image---gains prominence in Swallow, it becomes clear that the fragility of female identity in post-feminist America appears, in part, as the failure of language itself.
The original 1967 film was part of a larger series made by four male graduate students at Northwestern University[10] and documents Firestone three years before she published The Dialectic of Sex: The Case for Feminist Revolution and became recognized as a key figure in the development of radical feminism.
On the occasion of her 2015 solo show at Lincoln Center's "Art of the Real" series, Richard Brody wrote in The New Yorker about the film, praising its ingenuity of form.
[11] Kate Haug wrote in a review of the film, "Given the late ‘80s art world trends of appropriation and the ever-growing experience of simulacrum, it is not so shocking that an innovative filmmaker would take on celluloid cloning" and continued to state that "by creating a replica film of the ‘60s she [Subrin] harnesses the remake's amorphous quality of time to deftly address contemporary politics.
"[12] This film forces its viewers to reconnect to and become re-aware of the historical context – the individual and radical origins of U.S. feminism's Second Wave and how that course of events was subsumed and re-defined by the ensuing conservative political culture of the ‘80s.
[17] Featuring Cara Seymour (Adaptation, Dancer in the Dark, American Psycho), with an original score by video/performance artist Wynne Greenwood (Tracy and the Plastics).
Set in the Amazon and Sardinia, Technically Sweet was to star Jack Nicholson as T., a disillusioned journalist obsessed with guns, and Maria Schneider as "The Girl.
[20] A Woman, a Part (2016) A full-length feature film, written and directed by Subrin, starring Maggie Siff, Cara Seymour, and John Ortiz.