如同看著舞台劇，靠意象、形體、錯置的聲音創造罕有的敘事方法，故事內容姑且按下不表，留下想像空間任由觀眾探索更恰當。法國新浪潮女將杜克絲延續《廣島之戀》劇本的夢幻風格，更充分發揮導演作者論，角色故事與個人其他作品互相牽連(她將本片聲帶用於後作《她的威尼斯名字在加爾各答荒漠上》)，力求比其他同期導演做出更多突破。

India Song is a great example of Duras' reworking of the traditional relationship between sound and image. The emphasis on the sound track is a crucial aspect of the film as the viewer is actively challenged to figure out which voice belongs to which character and the chronology of events in the narrative. Every movement of Delphine Seyrig is sublime; long shots in the film are finely crafted and transform time and space into something can only be understood non-verbally. Nearly every frame of celluloid contains infinite projection of Duras herself.