One of the most influential avant garde films of all time, Alexander Hammid and Maya Deren’s Meshes of the Afternoon stars Deren as a woman inside of a labyrinthine nightmare, inhabited by her double as well as a mysterious cloaked figure with the face of a mirror.
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I love this, very provocative with the use of camera work and style. It seems new to me, even though it was made in 43. It is just brillant, I don't think after watching this short picture, that you could ever forget it. It's strange and out there, a clear vision of the use of dreams and weird reality all rolled into one. A very dark artistic film.
Maya Derin's film is an essential part of my collection. If anything happened to my disc, I would have to replace it. I like Maya Derin's other films, too. Avant-garde silent films are great: Bunuel, Germaine Dulac, Cocteau, all great.
Rewatch on 16mm curated by Teju Cole. Practically nothing new I could say about this that millions haven’t said already, but suffice it to say that watching this projected on a large screen through the grain/hum/tactility of celluloid (and not on a youtube video on your laptop) is essential.
If images could dream, they would dream in Deren's world. Meshes is a delightful semiotics playground: it's a nightmare within a nightmare within a nightmare: now I get why this is called one of the most influential works in American experimental cinema.
Thematically it doesn't interest me much (I've never liked pscyhodramas), but there is no denying the wonderful use of shadows and natural light. I can definitely see how important she was, even though I'm often indifferent to her work.
A very personal avant garde film that creates a unique cinematic reality. This counter-patriarchal "home" movie destroys all prevailing understandings of cinematic time and space. The shot of the woman (Maya Deren) peering out the window is one of the most famous scenes in film history.