Recently our film “Little Pink House” opened the Athena Film Festival in New York. The audience of approximately 250 braved a snowstorm and cheered the film.

Day Staff writer David Collins attended that screening, but his Feb. 10 piece (“Movie ‘Little Pink House’ hammers Connecticut”) makes us wonder if he was watching the same movie. His scattershot of misinformation refers to a film that only superficially resembles the one we made.

Collins contends that New London’s attorneys are “made to seem incompetent.” However, the film depicts the legal battle as a tangle between two intelligent teams. Various scenes provide each side ample time to lay out its most compelling arguments.

Collins claims that the head of the NLDC “is a one-sided caricature,” which is odd considering her actual depiction in the film is of a powerful yet vulnerable woman, someone accomplished and yet constrained by traditional expectations of women.

If the word “complicated” comes to mind, you’re not alone. During the post-screening Q&A, an audience member described her as “a very complicated woman.” Likewise, a reviewer from The Hollywood Reporter writes that the role is “played with force and complexity.”

Collins refers to a heated moment between two characters and declares, “That exchange certainly didn’t happen.”

Maybe Collins considers this a “gotcha” moment, but nearly all moviegoers understand that a film about real-life events is not a verbatim retelling of history. The film closely tracks Jeff Benedict’s excellent book by the same name, but there’s a reason why the text at the beginning of the movie reads: “based on a true story.”

The bluster continues when Collins writes: “The movie ends by saying Kelo v. City of New London, which the institute lost before the Supreme Court, was the most ‘widely hated decision’ in U.S. history. Says who?”

That may indeed sound incorrect — after all, the 1857 Dred Scott decision held that African-Americans could not be considered citizens. Surely that is more hated than the 2005 Kelo decision. However, Collins omits some important information, for what our film asserts is that Kelo “was the most widely-hated decision in modern history.”

The unique and widespread outrage is outlined by George Mason University Professor Ilya Somin in “The Grasping Hand,” the only book about the Kelo decision written by a legal scholar. Somin cites polling data that shows more than 80 percent of Americans opposed the decision, a coalition so broad it includes progressive Sen. Bernie Sanders of Vermont and conservative radio personality Rush Limbaugh.

Collins asserts that the film is merely propaganda for the Institute for Justice, the nonprofit law firm that defended Susette and her neighbors before the Supreme Court.

First, let’s clarify some other details Collins muddies: IJ did not “recruit” us, as he claims. The organization informed us the film rights to Benedict’s book were available, and asked if we’d be interested in raising funds and producing the film. We acquired the rights to Benedict’s book, and have worked closely with him and IJ throughout the process. But we raised the production funds ourselves. We maintain complete creative control.

And before Collins laid eyes on it, the film had been vetted by many savvy observers who had plenty of incentive to identify any whiff of propaganda. Take the Athena Film Festival (which celebrates women in film), the Santa Barbara International Film Festival (where the film sold out its premiere), as well as film industry publications such as Deadline Hollywood and The Hollywood Reporter. These organizations would be quick to criticize anything that smacked of propaganda, yet they and viewers from across the political spectrum have embraced the film.

Maybe all these people are using defective “propaganda detectors” or maybe Collins is the one peddling propaganda. Viewers in New London and beyond will soon be able to decide for themselves.

Courtney Moorehead Balaker is writer-director and Ted Balaker is producer of “Little Pink House” starring two-time Academy Award nominee Catherine Keener and Emmy nominee Jeanne Tripplehorn.