Maya Deren — witch of the lens, socialist of dreamtime, fugitive from the machinery of capital — transformed the moving image into a site of ritual. Her films Meshes of the Afternoon, At Land, Ritual in Transfigured Time, Divine Horsemen: The Living Gods of Haiti and Witch's Cradle dissolve boundaries between dream and waking, art and ceremony, self and spirit. She built a new language for film and died in poverty. She wrestled with addiction; her collaborations, including with her much younger husband Teiji Ito, shimmer with both creative brilliance and the complexities of power.