Exoticalot People are voting emotionally.

ChicRawIdol A brilliant film that helped define a genre

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

He_who_lurks "The Very Eye of Night" was Deren's last complete film and is probably one of her weakest films as director. She started out with symbolic avant-garde shorts, but changed later to studies of the human body in motion. This is one of these and is more meant to be an art film than a symbolic narrative tale. Like the other reviewer, I too would like to say that Teiji Ito's music was great and kept the thing from becoming too dull.Yes, I know that in the past I've called her "Meditation on Violence" boring, but that was because the film was too long when I saw it silent. This film however, deserves a lower rating than that effort because there's a shorter version of this effort out there. In 1951, Deren made a much shorter, 6-minute film called "Ensemble for Somnambulists" which was apparently unfinished and features the exact same idea of filming dancers in negative and superimposing them onto a backdrop! Apparently, years later Deren looked at that film and thought, "now I'll make a longer version of that and get it released this time!" The results, however, are dull for anyone who isn't a Maya Deren or dance fanatic.That said, I still find this to be somewhat interesting. Unlike "Ensemble for Somnambulists" the images here are more sharp and look gorgeous. Maya Deren didn't really seem to know when enough was enough, but this movie still manages to be artistic and beautiful within its short (yet overlong) run-time.

Roman James Hoffman "The Very Eye of Night" is the final completed film of Maya Deren, the Ukrainian-born American experimental filmmaker, (underrated) film theorist, dancer, choreographer, and voodoo priestess whose life and work is the very embodiment of the "independent" ethic and who has consequently exerted a tremendous influence on both mainstream and avant-garde American cinema. A word of warning: Deren is best known for her debut film "Meshes in the Afternoon" (1943), a dream-logic feminist nightmare which owes a lot to surrealism (although she actively disputed the categorization) which these days finds a sympathetic interpretation among attendees of art-house cinemas and/or feminist university courses. And rightly so, as the film is incredible and easily sits among the best the avant-garde has to offer…however, as "The Very Eye of Night" comes some fifteen years later, after Deren has incorporated her love of dance into her films and explored the exotic rites of voodoo, those expecting anything along the lines of "Meshes…" are going to be sorely disappointed. Instead, we have a total absence of narrative and, like her earlier "Meditation on Violence" (1948), a film totally given over to dance – in this case ballet. However, while not exactly a fan of ballet, I nevertheless enjoyed the film due to the creative use of the negative print of the ballet dancers who seem to float through a starry sky giving the impression, less of a dream, and more of a transcendent out-of-body experience among the stars and watching ancient gods at play.A key characteristic of Deren's films has always been the creative use of simple camera tricks to spectacular effect: and this film is no different. Indeed, whereas her other films were resolutely earthy and material (albeit invariably with a dream-like ambiance) the totally other-worldly realm she creates in "The Very Eye of Night" with the double exposure and negative print is truly magical and could be seen as the culmination of her work. This said, like many, I find her earlier work (especially "At land" (1944) and "Ritual in Transfigured Time" (1946)) much more satisfying and "The Very Eye of Night", despite both the magical ambiance and the enchanting score from her third husband Teiji Ito, seemed to me to just fall a little bit on the side of boring after about the 10 minute mark. Yet, this aside, Deren's artistic vision cannot be doubted and the film stands as an appropriate final bow in the oeuvre of a true pioneer which should be seen by anyone interested in the work of this amazing woman.

jazzest Inverted images of dancers with fixed outlines move across a starry sky. From the contemporary point of view, The Very Eye of Night, Maya Deren's last finished short, looks like a special effects computer application's tutorial; an innocent use of the "latest" technology comes to look cheap eventually. Probably it is an exercise piece whose experiment would have been developed if she had not passed away three years later.

wildstrawbe The Very Eye of Night is according to some critics Maya Deren's weakest work something that enraged Maya. I do understand why someone would not like this film as much as her first films but I still think it's quite good. The use of a balet that dances with a starry sky in the background (a very surreal picture) wouldn't interest me that much if it wasn't for Teiji Ito's music which is what really makes this film for me.