[1] A reflection on Pierre Trudeau's famous public statement that he valued reason over passion in his approach to governing Canada, the film deconstructs the concept by blending news footage of Trudeau at the 1968 Liberal Party of Canada leadership election with tracking shots of the Canadian landscape, as the letters in the subtitle "reason over passion" rearrange and scramble into 537 nonsensical anagrams over the course of the film.
[2] The film was also indirectly linked to a quilting project that Wieland first exhibited in 1968, which included quilts stitched with both the English "Reason Over Passion" and French "La Raison Avant La Passion" mottos.
[3] Jacob Siskind of the Montreal Gazette contrasted the film against the work of Wieland's husband, artist Michael Snow, writing that "in his picture frames, which are after all inanimate, Mr.
Snow has so completely infused the film with relentless motion that it has become totally static.
"[1] For the Toronto Star, Barrie Hale wrote that "the Canada that Wieland shows is a desolate place, featured by roads and train tracks and farms and trucks (and so, by implication, cities) but seen in dawn light, or dusk, or through storms—the time of dreams.