Lost in thought, a woman pulls a key out of her mouth. As she holds it in her hand, it transforms into a knife. She enters another room using the key, where two women, who look exactly like her, scrutinize the situation and carefully take a seat. She comes up to the table and places the knife in the middle. The knife turns back into a key. The women raise their heads in surprise.
As Maya Deren’s Meshes of the Afternoon progresses, we realize that the key plays a big role in the main character’s state of mind. It’s an image that has spread itself throughout visual arts in multitudes. Whether it be the weird key to the Dead Man’s Chest from Pirates of the Caribbean or the thin triangle shaft to the blue box in Mulholland Drive, it often illustrates the threshold between unknowingness and realization, a state of mystery — entrancing, very evocative, yet also hazy. In that, it mirrors some of Maya Deren’s most present sensibilities as a storyteller.