This charming depiction of the romantic encounter between a male and female cat who decide to take up housekeeping together was made by Deren’s second husband, Alexander Hammid.

This unfinished film, shot at Peggy Guggenheim’s Art of This Century Gallery (the prime exhibitor of Surrealist works in New York), was inspired by both the architecture of the space and the art works it contained. Deren used her camera to delineate the magic of what she called these “cabalistic symbols of the twentieth century.”

Filmed by Deren during successive visits to Haiti between 1947 and 1951, and completed posthumously by Cherel and Teiji Ito, Divine Horsemen began as a study of Haitian dance but expanded to embrace what Deren’s friend and legendary historian Joseph Campbell described as “manifestations of rapture.” The study led to her immersion into the religious practices of voodoo, which Deren referred to as “The White Darkness.”