Like Maya Deren's first short Meshes of the Afternoon, At Land is a narrative story infused with surrealism. It flows more smoothly comparing to Meshes, but lacks the energy that her first film has. Also, the structure of several fragmented episodes lacks coherency; some parts may reflect the director's personal experiences and/or mindscapes so that the audience may get confused. For example, the scene of the female protagonist walking with a young man and then meeting an old man in a bed seems barely related to the main story and unnecessary.
15 Reviews
A woman's journey.
punishmentpark22 January 2016
Warning: Spoilers
Another gem by Maya Deren. This time, a woman washes ashore and the waves return to the sea. She climbs up a piece of driftwood and then appears at a posh diner table. She he has her eye set on a man across the far end of the table, and crawls toward him, with images of her crawling through a jungle cut in. A lot more happens, but I will - experimentally, since I've gotten in the mood - move straight on to my interpretation of the 'story'. It seems to me that this woman is simply born in the beginning, then finds a man (also pictured as a chess piece - the bishop) she wants to be with, but then inside his house discovers he is too needy, and she escapes. She befriends other females, collects stones on the beach and finds another bishop (and she may find more), and finally disappears into the horizon, which represents her death. Again, just my two cents.
Just like in 'Meshes of the afternoon', there's lots of wonderful imagery and terrific ideas that Deren puts to good use for an intriguing, metaphysical study of (her own?) life. This one is not as mesmerizing or dark as 'Meshes...', but it comes awfully close.
A big 8 out of 10.
Just like in 'Meshes of the afternoon', there's lots of wonderful imagery and terrific ideas that Deren puts to good use for an intriguing, metaphysical study of (her own?) life. This one is not as mesmerizing or dark as 'Meshes...', but it comes awfully close.
A big 8 out of 10.
Interesting
cherold23 March 2024
Maya Deren's second film is closest in spirit to her first, the brilliant Meshes of the Afternoon, although it has a less ingenious structure and didn't strike me as deeply. Deren plays a woman washed to shore who goes on an Odyssey through space and time - I guess, it's hard to really know. It has some very striking and curious moments and is worth seeing.
I'll say two things about my reaction to the film. First, I came across a version on Youtube that had been rescored. That score is to me less evocative than the original, which I found later on the Internet Archive, where someone has uploaded all her works. Had my first experience been with this score it might have affected my overall impression.
Also, I saw Meshes when I was a twenty-something film student and I saw At Land as a sixty-something guy. I might have had a stronger reaction in film school, but this film just never crossed my path.
My point being that a younger me might have liked this better, but still not as well as Meshes.
I'll say two things about my reaction to the film. First, I came across a version on Youtube that had been rescored. That score is to me less evocative than the original, which I found later on the Internet Archive, where someone has uploaded all her works. Had my first experience been with this score it might have affected my overall impression.
Also, I saw Meshes when I was a twenty-something film student and I saw At Land as a sixty-something guy. I might have had a stronger reaction in film school, but this film just never crossed my path.
My point being that a younger me might have liked this better, but still not as well as Meshes.
Finding oneself through film
Chris_Docker11 April 2009
A woman lies on the sand, left there by the tides and waves (and in a pose that would be copied in From Here to Eternity). She reaches up across tree roots and makes a difficult climb. Only to discover herself climbing horizontally along a long dinner table as bourgeoise black-tie guests chat and drink and smoke, oblivious to her. At the top of the table, a man is playing chess but abandons the game. Fascinated, she gazes at board, the pieces moving unaided. The woman chases a pawn as it falls to the floor. Falls down a waterfall. Is lost.
She meets a man on a path through a forest. They chat and go to a big house - at his suggestion - where the furniture is covered with white shrouds, as if no-one lives there. (The inside of the house is quite grand, although from outside it is a mere wooden shack). She stares at an older man lying under a white sheet.
The woman descends the cliffs to the sand dunes and the beach. Two women are playing a relaxed chess and having a good time. She caresses their hair seductively. They play without needing to look at the board. The woman then takes a pawn and runs across the dunes, triumphantly recalling earlier scenes but leaving only footprints in the sand. Maya Deren's second short film is perhaps the only one to resemble her more famous Meshes of the Afternoon in terms of structure and style.
While both experimental films have a surrealist narrative that is suggestive rather than literal, the oppressive, frightening tone of Meshes is here replaced with one of joyous discovery. In Lacanian terminology, it celebrates a healthy return to an inner essence. In this it is almost the reverse of the psychotic nightmare of Meshes. It has also been seen as one first films addressing feminine subjectivity, although an anti-materialist reading would be equally possible (Deren had also been a left-wing political activist in the thirties).
In her classic text, Cinematography: the Creative Use of Reality, Deren says, "In my At Land, it has been the technique by which the dynamic of the Odyssey is reversed and the protagonist, instead of undertaking the long voyage of search for adventure, finds instead that the universe itself has usurped the dynamic action which was once the prerogative of human will, and confronts her with a volatile and relentless metamorphosis in which her personal identity is the sole constancy."
Cinematically, the unmatched shots also create a sense of disorientation in time and space. The viewer is forced to form their own 'story' or 'meaning' according to her or his own ingenium. The use of surreal structure for Deren was not so much an artistic preference as a belief that cinema needs to find its own instrument as an art form, to relinquish its reliance on, "narrative disciplines it has borrowed from literature," and its, "timid imitation of the causal logic of narrative plots."
The fact that At Land works so well reminds us that Meshes was no accident: Deren understood the way symbols are used by the subconscious well enough to elicit direct, meaningful responses in an audience. Sadly for cinephiles, Deren mostly moved back to her other love, that of the dance, in her use of film thereafter. Yet it is particularly her two early surrealist classics that continue to provide inspiration to viewers and filmmakers alike, such that she is still often referred to as the 'Mother of U.S.-Avant-Garde.' She developed a new vocabulary of film images and a new syntax of film techniques. Things she continued to strive for and lecture on until the end of her tragically short life.
She meets a man on a path through a forest. They chat and go to a big house - at his suggestion - where the furniture is covered with white shrouds, as if no-one lives there. (The inside of the house is quite grand, although from outside it is a mere wooden shack). She stares at an older man lying under a white sheet.
The woman descends the cliffs to the sand dunes and the beach. Two women are playing a relaxed chess and having a good time. She caresses their hair seductively. They play without needing to look at the board. The woman then takes a pawn and runs across the dunes, triumphantly recalling earlier scenes but leaving only footprints in the sand. Maya Deren's second short film is perhaps the only one to resemble her more famous Meshes of the Afternoon in terms of structure and style.
While both experimental films have a surrealist narrative that is suggestive rather than literal, the oppressive, frightening tone of Meshes is here replaced with one of joyous discovery. In Lacanian terminology, it celebrates a healthy return to an inner essence. In this it is almost the reverse of the psychotic nightmare of Meshes. It has also been seen as one first films addressing feminine subjectivity, although an anti-materialist reading would be equally possible (Deren had also been a left-wing political activist in the thirties).
In her classic text, Cinematography: the Creative Use of Reality, Deren says, "In my At Land, it has been the technique by which the dynamic of the Odyssey is reversed and the protagonist, instead of undertaking the long voyage of search for adventure, finds instead that the universe itself has usurped the dynamic action which was once the prerogative of human will, and confronts her with a volatile and relentless metamorphosis in which her personal identity is the sole constancy."
Cinematically, the unmatched shots also create a sense of disorientation in time and space. The viewer is forced to form their own 'story' or 'meaning' according to her or his own ingenium. The use of surreal structure for Deren was not so much an artistic preference as a belief that cinema needs to find its own instrument as an art form, to relinquish its reliance on, "narrative disciplines it has borrowed from literature," and its, "timid imitation of the causal logic of narrative plots."
The fact that At Land works so well reminds us that Meshes was no accident: Deren understood the way symbols are used by the subconscious well enough to elicit direct, meaningful responses in an audience. Sadly for cinephiles, Deren mostly moved back to her other love, that of the dance, in her use of film thereafter. Yet it is particularly her two early surrealist classics that continue to provide inspiration to viewers and filmmakers alike, such that she is still often referred to as the 'Mother of U.S.-Avant-Garde.' She developed a new vocabulary of film images and a new syntax of film techniques. Things she continued to strive for and lecture on until the end of her tragically short life.
A truly dream-like odyssey from the High Priestess of experimental cinema
RomanJamesHoffman17 July 2012
After the claustrophobic feminist nightmare of her first film 'Meshes of the Afternoon' Ukrainian/American experimental film-maker Maya Deren made this mesmerising, bewildering, and strangely reassuring short which continues to expand upon her interest in the rhythmic potentialities of the camera as well as the representation of dream-like states that challenge traditional narrative conventions. Indeed, despite being largely stripped of the Freudian symbology which figured so prominently (some may say conspicuously) in 'Meshes
', 'At Land' is arguably more dream-like than its illustrious predecessor through its use of clever editing which matches physical movements of the lead character (Deren) from shot to shot but against different physical backdrops to create a vivid, authentic representation of a subjective inner realm.
In addition to this technique, which she would also use beautifully in her next film 'A study in Choreography for Camera', the theme of the multiple-Mayas used in 'Meshes ' reoccurs. However, while in 'Meshes ' it was created using multiple exposures of the camera film to allow the different aspects of Maya to share the same space around the kitchen table, in 'At Land' the effect is achieved through a series of eye-line matches from each of the freshly manifested Mayas as she runs along the beach triumphantly.
The film also differs from 'Meshes ' in that it is almost completely set outside and begins with Deren washing up / being born on a beach, the waves of which then roll backwards into the sea. It is a characteristic feature of Deren's films to use simple camera effects to reveal hidden worlds of motion and latent artistic possibilities in things which our everyday eye often misses. Indeed, the composition of shots in 'At Land' is incredibly aesthetic and, even though she was avowedly not a surrealist, as she wanders the dunes and stony caverns the film certainly recalls a Dali painting to the point that the inclusion of a melting clock would not feel out of place.
Deren herself stated that the film is meant to represent a form of spiritual odyssey and an individuals struggle to maintain personal identity, however I must confess my shortcomings and admit that I didn't get that from the film if anything, for me the film was the very opposite: a reappraisal of splintered selfhood as curiously liberating. This difference of interpretation doesn't bother me though as I've always agreed with Oscar Wilde's opinion that "diversity of opinion about a work of art shows that the work is new, complex, and vital", and certainly, while being made in 1944 disqualifies it from being labelled "new", Deren's work in general, and 'At Land' in particular, is definitely complex, and undeniably vital.
In addition to this technique, which she would also use beautifully in her next film 'A study in Choreography for Camera', the theme of the multiple-Mayas used in 'Meshes ' reoccurs. However, while in 'Meshes ' it was created using multiple exposures of the camera film to allow the different aspects of Maya to share the same space around the kitchen table, in 'At Land' the effect is achieved through a series of eye-line matches from each of the freshly manifested Mayas as she runs along the beach triumphantly.
The film also differs from 'Meshes ' in that it is almost completely set outside and begins with Deren washing up / being born on a beach, the waves of which then roll backwards into the sea. It is a characteristic feature of Deren's films to use simple camera effects to reveal hidden worlds of motion and latent artistic possibilities in things which our everyday eye often misses. Indeed, the composition of shots in 'At Land' is incredibly aesthetic and, even though she was avowedly not a surrealist, as she wanders the dunes and stony caverns the film certainly recalls a Dali painting to the point that the inclusion of a melting clock would not feel out of place.
Deren herself stated that the film is meant to represent a form of spiritual odyssey and an individuals struggle to maintain personal identity, however I must confess my shortcomings and admit that I didn't get that from the film if anything, for me the film was the very opposite: a reappraisal of splintered selfhood as curiously liberating. This difference of interpretation doesn't bother me though as I've always agreed with Oscar Wilde's opinion that "diversity of opinion about a work of art shows that the work is new, complex, and vital", and certainly, while being made in 1944 disqualifies it from being labelled "new", Deren's work in general, and 'At Land' in particular, is definitely complex, and undeniably vital.
I'm so happy to live in a world with this movie!
Felonious-Punk27 January 2012
Maya Deren certainly does capture her dreams. Even through a silent soundtrack, she creates a gripping linear story line out of symbols, scattered situations, and moods. Through it all, she displays a sensuous love for cinematography by eliminating all but one dischordant splice. It flows together as an answer to all the movie-lovers who wished movies would cut between shots with a little more flow. Not to mention, that she's a fricking lovely actress! To me, it's even more accomplished than her "Meshes of the Afternoon" from the year before, since it's less frenzied, and takes its time to build a mood that draws the viewer in and ends up accelerating with unexpected twists.
Silence teaches you how to sing.
chaos-rampant6 July 2009
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.
Wonderfully complex experimental film.
Rigor12 May 1999
This is a remarkable short experimental film by the great Maya Deren. Deren is best remembered for the powerful short "Meshes in the Afternoon" and her dance and films about Haiti. This film is perhaps her most rigorous and complex. It is entirely silent and has a remarkable fractured narrative connected by story fragments that have a perfect dreamlike logic. Few filmmakers have come closer to creating images and actions that have such emotional intensity and intellectual suggestiveness.
Power of Deren's Work
Polaris_DiB23 April 2007
Warning: Spoilers
"At Land" can be considered in some way a direct sequel to Deren's first film, "Meshes of the Afternoon." It has the same mood and tone, and its beginning by the sea matches a form of spatial relationship to some of the areas Deren explored in "Meshes."
What strikes me specifically about "At Land" is how Maya Deren's film-making literally consummates what other people have tried to do before and since, and still her movies work where others do not. For instance, the reverse-shot footage of the waves, such a simple and already-been-done concept, still provides the uncanny special effect of making Maya Deren's body literally emerge from receeding waves. Is it something in the specific way she frames them, or the particular motion and shape of the waves she caught, or the speed in which she runs the film stock? How is it that her cinematography works on things that others do not? This film also features other effects such as stop-motion animation and a even more surreal sense of space travel. This movie is more overtly "dream-like" than "Meshes", which makes it just slightly less like a dream (though to be perfectly honest, that may be because "Meshes" has a very creepy score and this film is entirely silent).
Still, some moments, especially the scene where Deren chases the pawn down the stream, are stand-alone proof to uncanny quality of Maya Deren's work. Even if you haven't dreamt the things Deren dreams, her films will make you think you have, overall because they are both completely immersive and strangely familiar.
--PolarisDiB
What strikes me specifically about "At Land" is how Maya Deren's film-making literally consummates what other people have tried to do before and since, and still her movies work where others do not. For instance, the reverse-shot footage of the waves, such a simple and already-been-done concept, still provides the uncanny special effect of making Maya Deren's body literally emerge from receeding waves. Is it something in the specific way she frames them, or the particular motion and shape of the waves she caught, or the speed in which she runs the film stock? How is it that her cinematography works on things that others do not? This film also features other effects such as stop-motion animation and a even more surreal sense of space travel. This movie is more overtly "dream-like" than "Meshes", which makes it just slightly less like a dream (though to be perfectly honest, that may be because "Meshes" has a very creepy score and this film is entirely silent).
Still, some moments, especially the scene where Deren chases the pawn down the stream, are stand-alone proof to uncanny quality of Maya Deren's work. Even if you haven't dreamt the things Deren dreams, her films will make you think you have, overall because they are both completely immersive and strangely familiar.
--PolarisDiB
The declining avant-garde
daviuquintultimate27 August 2023
Kind of "experimental" movie, quite popular a few decades ago ("popular" is too big a word..), and now decisively out of fashion, at the point that contemporary audiences are wondering what could be the meaning of them.
A woman, apparently the victim of a shipwreck, is pushed back by the waves onto a beach. Later she is seen in a large society meeting dinner hall, where she is crawling upon the long table, unseen by all the guests, until she reaches the point where two persons are playing chess (one of them is John Cage, they tell me).
Later on, she introduces herself, with a perfect make-up and hair dressing, in the room in which a man with moustaches is laying in bed.
At the end she comes back to the beach, on which two women are playing chess: she (or maybe another woman) grabs one of the chess pieces and starts running along the sandy shore.
A woman, apparently the victim of a shipwreck, is pushed back by the waves onto a beach. Later she is seen in a large society meeting dinner hall, where she is crawling upon the long table, unseen by all the guests, until she reaches the point where two persons are playing chess (one of them is John Cage, they tell me).
Later on, she introduces herself, with a perfect make-up and hair dressing, in the room in which a man with moustaches is laying in bed.
At the end she comes back to the beach, on which two women are playing chess: she (or maybe another woman) grabs one of the chess pieces and starts running along the sandy shore.
a dream comes true
wildstrawbe20 September 2003
Watching some of Maya Deren's works made me think that directors like David Lynch owe a lot to this brilliant woman.
At land is one of the most beautiful and innovative movies I have ever seen. At Land is like a dream that is brought to the screen something I don't think any other director has succeeding in doing so well. The images of the sea, of the 2 women playing chess (and every other scene) don't seem to be connected in any way, but just like a dream that you have just waken up from it leaves you with the feeling you had an experience you couldn't even think of. Very beautiful and one of Maya Deren's best films.
At land is one of the most beautiful and innovative movies I have ever seen. At Land is like a dream that is brought to the screen something I don't think any other director has succeeding in doing so well. The images of the sea, of the 2 women playing chess (and every other scene) don't seem to be connected in any way, but just like a dream that you have just waken up from it leaves you with the feeling you had an experience you couldn't even think of. Very beautiful and one of Maya Deren's best films.
The original shared dream captured in celluloid.
nicolopolo777 August 2011
At Land is first and foremost a dream projection. Meaning that, while if it's either surreal or not, what we see is a not the narration of a dream or even the interpretation of a dream; it's the shared experience of a dream. Like, in dreams, you change from one location to another, or the person you are talking to suddenly become somebody else, or a Walt Disney look alike in a bed may be creepy, without any logical reaction to the strange nature of it because while you are dreaming you are just experiencing it, not trying to understand it. I strongly suggest that with this film, in fact, most of Deren's films, to let got to the rational function of "understanding" and just flow with it.
I don't think that most of Lynch or Buñuel's films are really onirical, maybe they are surrealistic on an absourdist level or rich on Jungian symbolism, but in the end, they have a basic narrative structure and usually bring a closure to whatever the film is about. Maya Deren's At Land is not based on rethorical figures or a discernible point; I don't even think there is no explicit symbolism to it (maybe Deren has explained it in some essay, but I haven't read her yet). It's experiencing the whole thing as if we are in Deren's head while she is dreaming. Of course, this implies the alienation of most viewers who may be in need of closure. Few films are successful as shared dreams, Malle's Black Moon or Jean Cocteau's Blood of a Poet come to mind.
Comercially, Kubrick tried and achieved to some extend the share dream with Wide Eyes Shut, but it's only last year's blockbuster Inception the one which has nailed it. Of all the references that are to be found about the excellent Inception, At Land it's the most clear influence, from the beach opening to the dream experience to the search of the totem and getting back to the first "dream layer".
So, even 60 years and something later, Deren is still a truly influential filmmaker
I don't think that most of Lynch or Buñuel's films are really onirical, maybe they are surrealistic on an absourdist level or rich on Jungian symbolism, but in the end, they have a basic narrative structure and usually bring a closure to whatever the film is about. Maya Deren's At Land is not based on rethorical figures or a discernible point; I don't even think there is no explicit symbolism to it (maybe Deren has explained it in some essay, but I haven't read her yet). It's experiencing the whole thing as if we are in Deren's head while she is dreaming. Of course, this implies the alienation of most viewers who may be in need of closure. Few films are successful as shared dreams, Malle's Black Moon or Jean Cocteau's Blood of a Poet come to mind.
Comercially, Kubrick tried and achieved to some extend the share dream with Wide Eyes Shut, but it's only last year's blockbuster Inception the one which has nailed it. Of all the references that are to be found about the excellent Inception, At Land it's the most clear influence, from the beach opening to the dream experience to the search of the totem and getting back to the first "dream layer".
So, even 60 years and something later, Deren is still a truly influential filmmaker
Brilliant
Jithindurden17 June 2018
Maya Deren knows to show exactly how dream works. As the dreamscape changes sporadically the person's motives also changes with it all the while wondering that something's strange all of it looks familiar but distant. The short is considerably forward for the time in portraying a lot of it.
Not a complete failure, but inferior to other 1940s short films
Horst_In_Translation10 July 2015
Warning: Spoilers
This is another short film from World War II written and directed by female movie maker Maya Deren. It's a silent, black-and-white film, which is both already not too common for the 1940s, especially the silent aspect. these days were long over and the likes of Lloyd, Chaplin and Keaton pretty much done career-wise. I have to say I did not find these 15 minutes particularly exciting. Occasionally, I can see some artistic value, but all in all it's just not enough. Also the story with the main character (played by Deren herself) coming out of the water and meeting people, getting to places etc. was a bit underwhelming. Maybe sound would have made this film superior to this silent version, because you could actually understand what was going on. It is one of Deren's earlier works and probably her second most famous. She died way too early in her 40s and she was in her late 20s when she made this. All in all, I cannot recommend it.
A Woman's Place in Society
Tornado_Sam17 July 2017
Warning: Spoilers
Maya Deren again takes us on a dreamlike journey, this time involving a woman in her pursuit to recover a pawn from a chess set, which is swept away by the currents of a river. In her attempts to re-locate the piece, the woman finds herself on a strange trip through the countryside, into a cabin in the woods, and then back at the beach again.
The message of the film is loud and clear to those who listen (watch) for it. The pawn being pursued is, as Deren herself once stated, the identity of the woman, which she is struggling to find. This is a character who has lost her place in the world, one who has yet to discover where she belongs; she has been rejected from society, washed in from the tide that is society itself onto no-man's-land. Along the way of recovering her place in the world, she runs into numerous other distractions, such as a man in the woods, that attempt to put her at ease. She continues looking, but to no avail cannot find her original identity. Finally, in the ending, she must steal the identity that belongs to somebody else to fit in with the rest of the world, a trap many of us fall into.
Clearly, this avant-garde piece is relating to a feeling everyone has at some point, possibly showing a problem Deren herself had to deal with. Like many other experimental filmmakers, the director was possibly a reject from society, rebelling against conventional cinema...maybe I am just being fanciful. Either way, the problem with which Deren's short deals is one all can associate with, but not one clear to those who aren't looking for a meaning. On the outside, "At Land" relates no story and looks like random unconnected imagery; but, as in "Meshes of the Afternoon" (which is more sophisticated analysis-wise) each object/character in this film has a definition which pieces together the narrative.
Those who are looking at this short more for dream-like visuals won't be disappointed, but on the whole this third effort of Deren's is largely recommended for fans of avant-garde cinema, particularly fanatics of Bunuel's "Un Chien Andalou" and Clair's "Entr'acte".
The message of the film is loud and clear to those who listen (watch) for it. The pawn being pursued is, as Deren herself once stated, the identity of the woman, which she is struggling to find. This is a character who has lost her place in the world, one who has yet to discover where she belongs; she has been rejected from society, washed in from the tide that is society itself onto no-man's-land. Along the way of recovering her place in the world, she runs into numerous other distractions, such as a man in the woods, that attempt to put her at ease. She continues looking, but to no avail cannot find her original identity. Finally, in the ending, she must steal the identity that belongs to somebody else to fit in with the rest of the world, a trap many of us fall into.
Clearly, this avant-garde piece is relating to a feeling everyone has at some point, possibly showing a problem Deren herself had to deal with. Like many other experimental filmmakers, the director was possibly a reject from society, rebelling against conventional cinema...maybe I am just being fanciful. Either way, the problem with which Deren's short deals is one all can associate with, but not one clear to those who aren't looking for a meaning. On the outside, "At Land" relates no story and looks like random unconnected imagery; but, as in "Meshes of the Afternoon" (which is more sophisticated analysis-wise) each object/character in this film has a definition which pieces together the narrative.
Those who are looking at this short more for dream-like visuals won't be disappointed, but on the whole this third effort of Deren's is largely recommended for fans of avant-garde cinema, particularly fanatics of Bunuel's "Un Chien Andalou" and Clair's "Entr'acte".
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