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Meshes of the Afternoon
Meshes of the Afternoon (Maya Deren & Alexander Hammid, 1946)

    Meshes of the Afternoon

    Alexander Hammid, Maya Deren, USA, 1946, 14’

    For her influential short avant-garde film Meshes of the Afternoon, the prominent experimental filmmaker Maya Deren collaborated with her then-husband, Alexander Hammid. The film is silent except for added sound effects, such as the ticking of a clock.

    The action centers on a woman, played by Deren herself. She returns home, falls asleep, and has vivid dreams that may or may not be happening in reality. She repeatedly follows another woman, who is dressed in black, holds a flower, and has a mirror for a face. Each time this mysterious presence disappears around the corner, Deren enters a house. 

    Through repetitive images and a complete mismatch with the objective view of time and space, the woman’s dark inner desires play out on-screen. The camera follows her from striking angles while the lighting produces sharp, diagonal shadows in this black-and-white film. A knife, a telephone, and a key return time and again as visual motifs and sometimes abruptly merge. Subsequently, a man (played by Hammid) enters this menacing, circular fantasy world.

    In 1957, the Japanese composer Teiji Ito, Deren’s second husband, added an ambient, dreamy soundtrack to the film.

    Bio Maya Deren

    Maya Deren (1917-1961) was one of the most important American avant-garde experimental filmmakers of the 1940s and 1950s. Deren was also a choreographer, poet, and photographer. She was married to Alexander Hammid; together they made Meshes of the Afternoon (1943).

    My purpose is to make an experimental motion picture (the physical scope of which is subject to material conditions) in which I will attempt to develop a cinematic art form, originating in the creative potentialities of the movie camera itself, and freed from the influence of other artistic idioms, such as literature, theater, the plastic and pictorial arts. 

    Maya Deren
    La Jetée
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    The White Elephant

    Shuruq Harb, Palestine, 2018, 12’

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    Chantal Akerman, Belgium, 1968, 13’

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    Chantal Akerman, Belgium, 1972, 11’

    Panning shots in a repeating full-circle movement show a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. There is the presence of a young woman: filmmaker Chantal Akerman herself, sitting on the bed eating an apple.

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    Empty House

    Gina Kim, South Korea, USA, 1999, 24’

    This video diary depicts a young woman’s flat, the fears and fantasies about her body plainly revealed as she wakes up with a bloated face, full of self-loathing after a night of compulsive over-eating.

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    Impossible Figures and Other Stories II

    Marta Pajek, Poland, 2016, 15’

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