ired ▁to ▁be ▁a ▁rom antic ized ▁crime - sp ree ▁vision , ▁such ▁as ▁Arthur ▁P enn ' s ▁Bon nie ▁and ▁C ly de . ▁L oden ▁purpose fully ▁fav ored ▁a ▁g rit ty ▁document ary ▁approach : ▁ ▁I ▁really ▁hate ▁s lick ▁pictures ... ▁They ' re ▁too ▁perfect ▁to ▁be ▁bel iev able . ▁I ▁don ' t ▁mean ▁just ▁in ▁the ▁look . ▁I ▁mean ▁in ▁the ▁rh ythm , ▁in ▁the ▁cutting , ▁the ▁music — every thing . ▁The ▁s lick er ▁the ▁technique ▁is ▁the ▁s lick er ▁the ▁content ▁becomes , ▁until ▁everything ▁turns ▁into ▁Form ica , ▁including ▁the ▁people . ▁ ▁With ▁its ▁hand - h eld ▁camera , ▁anonymous ▁locations , ▁available ▁light ing ▁on ▁ 1 6 mm ▁( b low n ▁up ▁to ▁ 3 5 mm ), ▁and ▁impro vis ation ▁by ▁a ▁mostly ▁amateur ▁cast , ▁critic ▁Richard ▁Bro dy ▁cons iders ▁W anda ▁to ▁be ▁not ▁so ▁much ▁in ▁the ▁tone ▁of ▁the ▁concurrent ▁French ▁New ▁W ave , ▁but ▁more ▁like ▁the ▁impro vis ational ▁director ial ▁work ▁of ▁John ▁Cass av etes . ▁ ▁Although ▁L oden ▁was ▁one ▁of ▁the ▁very ▁few ▁women ▁direct ors ▁of ▁the ▁late ▁' 6 0 s / ear ly ▁' 7 0 s , ▁she ▁didn ' t ▁consider ▁W anda ▁a ▁femin ist ▁film ▁at ▁the ▁time ▁she ▁was ▁working ▁on ▁it , ▁saying : ▁ ▁When ▁I ▁made ▁W anda , ▁I ▁didn