Girish Shambu's manifesto For a New Cinephilia is a call to replace an older 'love of cinema', which universalises its own very specific and contingent history, with a new cinephilia sensitive to political inequalities. In this insight, I use Shambu's framework to discuss the reception history of Barbara Loden's film Wanda (1970), which was recently rediscovered and is now valued as a feminist masterpiece. The case suggests the need to account for the situatedness of any value statement. Thus, the insight ends with a proposal for a situated notion of value – and a cautionary tale about simplistic celebrations of political re-evaluations.