The original shared dream captured in celluloid.

Maya Deren in Meshes of the Afternoon (1943)

A Study in Choreography for Camera (1945)

Divine Horsemen: The Living Gods of Haiti

Divine Horsemen: The Living Gods of Haiti (1993)

John Cage

Maya Deren

Alexander Hammid

Silently, a woman wakes on a beach as the tides go in reverse. Her dreamscape unfolds as she tries to locate a chess piece traveling from the beach to a party to a country road and then back.

At Land

Silence teaches you how to sing.

There&apos;s less of the symbolic to grapple with in AT LAND compared to Maya Deren&apos;s MESHES OF THE AFTERNOON, although there&apos;s probably a good deal to analyze, if you&apos;re so inclined, about a woman looking for a chess pawn, then clutching it to her chest and running on a beach as her other selves look curiously at her. Less jarring (although Maya Deren does walk in on her own POV shot at one point!), more linear and sure of itself, this is almost the Lucifer Rising to Meshes&apos; Invocation of my Demon Brother (to bring Kenneth Anger into the fold). Whereas Meshes had a syncopated, almost nervous quality about it, AT LAND is more lyrical, still dreamlike in atmosphere, but exchanging cramped apartments, hooded figures and knives for open beach spaces, giant scaffolds, and games of chess. I won&apos;t presume to know what it all means, and like Meshes, I suspect I would find the answer infinitely less satisfying or intriguing than the question itself but lovers of the avant-guard will find a lot to like.

There's less of the symbolic to grapple with in AT LAND compared to Maya Deren's MESHES OF THE AFTERNOON, although there's probably a good deal to analyze, if you're so inclined, about a woman looking for a chess pawn, then clutching it to her chest and running on a beach as her other selves look curiously at her. Less jarring (although Maya Deren does walk in on her own POV shot at one point!), more linear and sure of itself, this is almost the Lucifer Rising to Meshes' Invocation of my Demon Brother (to bring Kenneth Anger into the fold). Whereas Meshes had a syncopated, almost nervous quality about it, AT LAND is more lyrical, still dreamlike in atmosphere, but exchanging cramped apartments, hooded figures and knives for open beach spaces, giant scaffolds, and games of chess. I won't presume to know what it all means, and like Meshes, I suspect I would find the answer infinitely less satisfying or intriguing than the question itself but lovers of the avant-guard will find a lot to like.

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At Land

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