a surrealist dream


how far do you travell with your eyes closed?

every third day of the week,
me and my cat are
dead to the world.

we placidly travell impossibly far;
with long-forgotten passwords
we penetrate into the enigmatic
parallel worlds, where man has
never set foot in.

you are welcome to join us
three days from now.

(bring an extra pillow with you)

Oh btw I figured out something today.
The best dreams I have are the ones in the morning, when I fall asleep after the alarm goes off. They always end in the wrong time and left you wanting more… but you wake up 10 minutes before the time you were supposed to leave for a class and then you sit on a bed asking yourself if going to that class is even worth it.


Seriously though, this is a movie that loves not making heads or tails of itself.

It’s weird, it’s wild, it’s unstructured, creative, and once the dream mixes with reality it stops making sense all together despite the best efforts of the (two) protagonist(s), if even it was making any sense to begin with.

That’s why this movie is so good. Satoshi Kon might be one of the few filmmakers that embraces the surreal nature of dreams. The ease with which he plays with the concept and the animation is joyous, and it makes for one Earth-shattering, eye-opening ride of a movie that I think anybody who loves cinema and wants to see its artistic potential should watch.

And now, if you excuse me, I should wake up. I’ve been asleep for I have no idea how long


From Underwater no. 3 by Chester Brown (1995). Underwater was planned as a story of the central character’s life development serialized over many years, but the depictions of an infant’s perceptions and experiences baffled many readers. Brown also ran into creative problems with the story and abandoned it after three years and eleven issues. It was a sheer stunner, though, grippingly strange yet often intelligible and even familiar.