[3] According to Elissa Rashkin, Sistach was among a movement in the late 1980s of innovative female directors in Mexican cinematic history, along with Maria Novaro, Busi Cortés, Guita Schyfter, and Dana Rotberg.
"[3] Critics have stated that Sistach's films are unique in that they portray controversial themes and messages that address the powerlessness of minority groups.
[8] In "Screening Minors in Latin American Cinema", author Traci Roberts-Camps describes the impact of Sistach's films, explaining, "Sistach portrays protagonists who have less agency because they are young, female, and working class— these factors affect their ability to 'resist, negotiate and transform' external forces of power.
"[10]Sistach's perspective is to comment on societal constructs in Mexico as well as to present a feminist demand for change in patriarchal aspects of this society.
Sistach's film becomes a representation of how the urban setting, with its limited access and drive to attain capital, provokes sexual violence against females and transforms these citizens into agents of violence to secure survival [...] Perfume de violetas denounces the governmental and societal ignorance which affects females in Mexico.
The protagonist interacts with a dominant culture and an urban space that provoke sexual violence against the female subject.
The home and school spheres create the construction of gender which result in violence when females enter the public space.