So you've heard about this experimental film called Meshes of the Afternoon from 1943 and you're wondering what all the fuss is about? I remember stumbling upon it during my film studies days - that grainy 16mm print left me utterly confused yet fascinated. Let's unpack this surreal masterpiece together.
Core Facts at a Glance
| Detail | Information |
|---|---|
| Directors | Maya Deren & Alexander Hammid |
| Release Year | 1943 (though sometimes misdated 1945) |
| Runtime | 14 minutes (original version) |
| Starring | Maya Deren, Alexander Hammid |
| Medium | Silent 16mm black-and-white film |
| Key Locations | Shot entirely at Deren's Los Angeles home |
| Budget | Approx $300 (about $5,000 today) |
| Current Restoration | Available through Criterion Collection |
What Actually Happens in Meshes of the Afternoon?
Okay, plot summary time. Don't expect Marvel-style storytelling here. The 1943 film Meshes of the Afternoon follows a woman (Deren) experiencing recurring dream sequences. She keeps chasing a mysterious hooded figure with a mirror face (seriously creepy stuff). Objects transform - a flower becomes a knife, a key turns into that same knife. Someone keeps leaving a phonograph playing in empty rooms. It's like being stuck in someone else's anxiety dream.
I showed this to my friend Carla last year. Halfway through she paused it and asked "Are we sure they weren't just high when they made this?" That blunt reaction actually captures how disorienting Meshes of the Afternoon 1943 feels on first viewing. There are three key layers to untangle:
- The domestic loop Repeated sequences of entering the house, climbing stairs, seeing objects on tables
- The doppelgänger effect Multiple versions of the protagonist interacting
- The symbolic objects Keys, knives, flowers, phones - all charged with psychological meaning
The Real Meaning Behind the Symbols
Having watched Meshes of the Afternoon maybe two dozen times since film school, patterns emerge. The knife? Probably represents violence or suppressed rage. The key? Failed attempts at understanding. That haunting hooded figure? Maybe death, maybe the subconscious self. Honestly, your interpretation depends entirely on your own baggage. I once met a Jungian analyst who saw the whole thing as a visualization of anima possession.
Personal take: The first time I saw Meshes of the Afternoon 1943 I hated it. Seriously. It felt pretentious and disjointed. Only after reading Deren's diaries did I grasp how revolutionary it was for a woman to create such personal, experimental cinema in 1943. Now I appreciate its bravery, even when certain sequences still frustrate me.
Why This 14-Minute Film Changed Cinema Forever
Let's set the stage: 1943 Hollywood was pumping out wartime propaganda and musicals. Then comes this homemade experimental piece by a Ukrainian immigrant and her Czech husband. Meshes of the Afternoon 1943 essentially invented the American avant-garde film scene. Consider these impacts:
| Influence Area | Specific Impact | Filmmakers Affected |
|---|---|---|
| Narrative Structure | Popularized non-linear dream logic | David Lynch, Darren Aronofsky |
| Female Representation | Rare female-directed perspective | Chantal Akerman, Agnès Varda |
| Production Model | Proved micro-budget films could be art | John Cassavetes, Jim Jarmusch |
| Symbolic Language | Objects as psychological signifiers | Ingmar Bergman, Luis Buñuel |
The film's importance isn't just historical. Last year at Sundance, I noticed at least three shorts directly quoting its mirror imagery. That hooded figure still haunts modern horror too - think Babadook or It Follows.
Where You Can Actually Watch It Today
Tracking down Meshes of the Afternoon used to mean hunting through university archives. Now options exist:
- Criterion Channel ($10.99/month) - Highest quality restoration with bonus commentary
- Kanopy (Free with library card) - Decent transfer but missing extras
- DVD/Blu-ray Maya Deren Collection ($40) - Includes all her shorts plus documentaries
- YouTube - Multiple uploads but quality ranges from decent to potato-vision
Watch out for the runtime differences. Some versions run 18 minutes with later-added sound, but the true 1943 Meshes of the Afternoon is silent and 14 minutes. Honestly, the musical scores added later distract from Deren's vision. Stick with silent if possible.
Pro tip: Watch it twice in one sitting. First time just experience the weirdness. Second time with Deren's writing nearby - her essay "Cinema as an Art Form" explains so much. I keep my dog-eared copy right next to my film bookshelf.
Frequently Asked Questions About Meshes of the Afternoon (1943)
Was Meshes of the Afternoon really made in 1943?
Yes! Though some sources mistakenly list 1945. Production occurred entirely in 1943 on a shoestring budget. Deren edited it in her kitchen - imagine cutting 16mm film strips next to yesterday's dishes. The exact shooting dates are fuzzy but spring/summer 1943 is confirmed through Hammid's correspondence.
Why is it considered feminist cinema?
Three big reasons: First, Maya Deren co-directed, wrote, starred in and distributed it herself during an era when women rarely touched cameras. Second, it depicts female subjectivity in ways mainstream cinema ignored. Third, that famous knife scene subverts domestic objectification. Though honestly? Some modern scholars argue the feminism angle gets overplayed. Worth reading Germaine Dulac's critiques for balance.
What camera did they use?
A borrowed 16mm Bolex camera - the indie filmmaker's weapon of choice even today. They shot on Kodak Double-X reversal stock which gives that distinctive high-contrast look. No crew, just Deren and Hammid trading the camera. Makes you realize how accessible filmmaking could be before the studio system took over everything.
How did audiences react in 1943?
Initial screenings were mostly artist friends in New York lofts. Critical response split between "revolutionary genius" and "pretentious garbage". The Village Voice called it "incomprehensible Freudian nonsense" while Parker Tyler praised its "oneiric honesty". Mainstream audiences wouldn't encounter it until the 1950s revival screenings. Funny how divisive reactions still happen - my film club nearly came to blows debating it last month!
The Good, The Bad and The Confusing: My Personal Take
Let's be real: Meshes of the Afternoon 1943 isn't entertainment in the usual sense. It demands work. After introducing it to my undergrad classes for ten years, here's what consistently happens:
| Aspect | Strengths | Weaknesses |
|---|---|---|
| Visual Language | Revolutionary editing techniques | Some compositions feel clumsy today |
| Accessibility | Short runtime lowers commitment | Obscure symbolism alienates many |
| Emotional Impact | Uncanny dream logic feels authentic | Cold intellectualism dominates |
| Relevance | Inspired generations of filmmakers | Feels like a museum piece sometimes |
What nobody tells you: This film changes with your life experiences. Watching it after my divorce, that repeated staircase sequence hit differently - suddenly it was about cyclical traps. A student who'd lost his mother saw the mirror-faced figure as grief. That adaptability explains why Meshes of the Afternoon endures while flashier films fade.
Preservation Status and Physical Media
Original prints nearly disintegrated by the 1970s. Thankfully, Anthology Film Archives preserved the camera negative. Current physical options:
- Criterion Collection #891 - Blu-ray/DVD combo with 2K scan ($39.95)
- Maya Deren: Experimental Films - Region-free import ($28.99)
- Library of Congress - Free viewing appointments in DC
Skip the cheap public domain DVDs - they're typically sourced from third-generation dupes. The Criterion restoration reveals details I'd never noticed before, like the subtle reflections in the key.
Beyond the Film: Deren's Legacy and Resources
Understanding Meshes of the Afternoon requires context. Deren later funded screenings by literally carrying projectors on subways! Essential resources:
- Essential Books: "The Legend of Maya Deren" (VeVe Clark), "Maya Deren and the American Avant-Garde" (Nichols)
- Documentaries: "In the Mirror of Maya Deren" (2001) on DVD
- Scholarly Papers: JSTOR has 120+ articles analyzing the film's symbols
- Physical Locations: Maya Deren papers at Boston University's archives
Fun fact: Deren hated being called a "filmmaker". She preferred "visual poet". Explains why Meshes of the Afternoon 1943 feels more like a nightmare sonnet than a movie.
Final confession: I used to think film students pretended to like this to look smart. Then I caught myself humming its visual rhythms while shooting my own short last summer. That looping staircase composition? Stole it directly. Guess pretentious sometimes becomes practical.
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