SOURCE: A review of Meshes of the Afternoon, in Monthly Film Bulletin, Vol. 55, No. 653, June, 1988, pp. 186-87.

In the following review, Kuhn praises Deren's Meshes of the Afternoon for revealing "a memorable inner world of stunning imagery and powerful emotion."

A sunny, steep-walled lane, a large, delicate flower in full bloom, a woman's sandalled feet, sharp shadows, a cloaked figure glimpsed disappearing around a comer, steps to a house door. Within, a series of everyday objects—mirror, armchair, knife. The scene is set, the stage empty: what will happen? The enigmatic opening of Meshes of the Afternoon, Maya Deren's first film—made in collaboration with her husband, Alexander Hammid—introduces the protagonist (played by Deren herself) without actually showing her. The point of view is the woman's, and through it the viewer is drawn into a world which combines reassuring and threatening aspects of the familiar to produce...