Maya Deren, Take Zero

Maya Deren's Sink

In the Mirror of Maya Deren

Maya Deren - Experimental Films

Invocation: Maya Deren

Ritual in Transfigured Time

At Land

Meshes of the Afternoon

Alter Ego Film Project

Vever (For Barbara)

Cinema16: American Short Films

Divine Horsemen: The Living Gods of Haiti

A Study in Choreography for Camera - Outtakes

Season of Strangers

The Very Eye of Night

Ensemble for Somnambulists

Meditation on Violence

Medusa

The Private Life of a Cat

A Study in Choreography for Camera

Witch's Cradle

Maya Deren (; born Eleonora Derenkovskaya; Ukrainian: Елеоно́ра Деренко́вська; May 12 [O.S. April 29] 1917 – October 13, 1961) was a Ukrainian-born American experimental filmmaker and important part of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer.
The function of film, Deren believed, was to create an experience. She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou,  symbolist poetry and gestalt psychology (as a student of Kurt Koffka) in a series of perceptual, black-and-white short films. Using editing, multiple exposures, jump-cutting, superimposition, slow-motion, and other camera techniques to her advantage, Deren abandoned established notions of physical space and time, innovating through carefully planned films with specific conceptual aims.
Meshes of the Afternoon (1943), her collaboration with her husband at the time, Alexander Hammid, has been one of the most influential experimental films in American cinema history. Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman.

Maya Deren