Director’s Reel

Parmar etches a sympathetic profile that acknowledges the complexity and divisiveness of her subject and argues for the continued relevance of her work. Enacted scenes are tender, exuberant, shattering. With their quiet ferocity and recognizable predicaments, the dramatic vignettes in My Name Is Andrea find the Everywoman in a singular figure, and the film as a whole connects Dworkin’s concerns about class and race and gender to the present moment.