A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.

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, (as Alexander Hamid)

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Cast

Complete credited cast:
Maya Deren ...
Alexander Hammid ...
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Storyline

A solitary flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a phone off the hook: discordant images a woman sees as she comes home. She naps and, perhaps, dreams. She sees a hooded figure going down the driveway. The knife is on the stair, then in her bed. The hooded figure puts the flower on her bed then disappears. The woman sees it all happen again. Downstairs, she naps, this time in a chair. She awakes to see a man going upstairs with the flower. He puts it on the bed. The knife is handy. Can these dream-like sequences end happily? A mirror breaks, the man enters the house again. Will he find her? Written by <jhailey@hotmail.com>

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bed | flower | knife | stairs | mirror | See All (18) »

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Release Date:

27 October 2001 (Sweden)  »

Also Known As:

A délután szövevénye  »

Box Office

Budget:

$275 (estimated)
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Aspect Ratio:

1.37 : 1
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Trivia

This film was selected to the National Film Registry, Libary of Congress, in 1990. See more »

Goofs

When The Woman tries to open the supposedly locked door for the first time, it gives way a little (too much). See more »

Connections

Featured in Invocation: Maya Deren (1987) See more »

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Queen of the Avant Garde
6 February 2006 | by (United States) – See all my reviews

There really wasn't a true "Avant Garde" film until Maya Deren forged a new path and formed what we now know today as the art film. Sure we had art films from the likes of Luis Bunuel and Dali, but nothing quite like Meshes of an Afternoon. Deren and Brakhage are the two quinesstianl artists that have molded the many avant garde films of today. Deren focuses on the exact details of objects, learning them and then filming them, as if painting a glorious canvas with each movement an exact yet at the same time spontanious venture. Often explaining avant garde films to people can become a very tiresome process...So, I always direct them to Meshes of an Afternoon, and let the artist explain away.


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