20 In Lovers of Cinema: The First American Film Avant-Garde, 1919-1945 , Horak describes the film this way: “True to the title, the film has mystical overtones, its narrative constructed from seemingly unrelated images....Apart from their pictorial beauty, the film’s images seem to hold some primordial meaning connected to fertility rites, to mystical love and romantic fate, yet they remain ambiguous....The film’s visual text thus constructs romantically imbued riddles that remain unsolved, the stuff of dreams.”  p. 53.