ABSTRACT
Films and dreams are born from the darkness of sleep and both are simulacra of reality. Dreams are dark, and hence they need to be interpreted, just as the sleep that encloses them is dark; but, in fact, they are also contemplation. Dreams partake of a non-logic, they are outside of any economy of usefulness. They are mysterious, shadowy, enigmatic. The dream ferries us between worlds. It is the metaleptic device of choice for crossing borders, potentially also the most feared. The dream is active, because there is an ego who is both director and producer, who sets up a scene; but it is also passive, because there is a self that suffers the vicissitudes of a plot that is constantly new and surprising. Dreams are dark, and hence they need to be interpreted, just as the sleep that encloses them is dark; but, in fact, they are also contemplation.
