By contrast, Jonas Mekas said after seeing the film, "I couldn't believe what beauty struck my eyes, what sensuousness," and Gregory Markopoulos was impressed with its "visual wisdom." Wheeler Winston Dixon called the film "superb" in his profile of de Hirsch, and in a later article, wrote, "This transcendent and ambitious narrative film is only one example of early Feminist cinema that led to the later work of Yvonne Rainer, Jane Campion, Sally Potter, Julie Dash and others." Gwendolyn Audrey Foster called it "mesmerizing" and "a visual feast of experimentation" in her book on women film directors, and compared its visual effects to those of MTV. In a discussion with de Hirsch on gender and art, Shirley Clarke called "Goodbye in the Mirror" the first "real woman's film" and noted: In other words, for some reason, even so far, women film-makers have yet to deal with the subject of women. That usually, for instance, Varda's heroes are men. Her women may or may not be what brings them to their salvation, or whatever. In Zetterling's film, the women may be the enemy or the devil or the one who gets everything going. But so far in film, we have yet to have treated on the most basic level, very personal reactions of women. Because so far, we've had mostly men directors who, whether they've been very sensitive or not, have not really been able to deal with women this way. Just like when they write about women, they're writing from a certain separateness. "Goodbye in the Mirror" is dealing with women. And women's reactions to a series of events.