If "Meshes In The Afternoon" (1943), the first Maya Deren film we saw this past Sunday, is about vaginal power, "At Land" (1944) is about what women have had, and still have to go through, to achieve it, even, maybe especially more so, in this age of Harvey Weinstein and Jeffrey Epstein.
When Maya starts climbing this tree like thing, she is demonstrating the struggle of women everywhere, to reach the top. And when she crawls across the executive board table like some cobra, to the delight of those seated there, she is symbolic of women, like Deborah Norville, and countless still today, who have to get their jobs by administering blow jobs to all the men above them, in order to get hired.
In the corporate world, fellatio gets women the job.
Unless you are ANNA WINTOUR! Or MERYL!!!!!!!!!!!!!!!!!!!
But small time careerists haven't it any better than back then. Hey, I know some workers who had to do worse--men who had to eat out dried, encrusted executive pussy, in order to get their jobs. I also know some who refused. They were the ones with integrity. The ones who don't are so desperate to be acolytes, which is not much of an honor, that they don't realize it, thinking they are being honored, when actually they are subbing for a dom.
This is what "At Land" brings to mind, and its imagery is both Lynchian and Felliniesque.
The perfect companion piece to 'Meshes'.
The two dilemmas of woman.
What a visionary Maya was, darlings! Where are the Derens today, when needed??????????????????
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