FILM

Meshes of the Afternoon’s dream-like mise-en-scene, illogical narrative trajectory, fluid movement and ambient soundtrack invite a type of contemplative, perhaps even transcendental, involvement for the spectator. The film is constructed from a myriad of eyeline matches and mismatches. The use of extreme angles to imply one character looking down on the dreamer, a type of spider’s point of view, foreshadows the dreamer’s death.