In conjunction, these two aspects of the film create a dreamlike sense of ambiguous reality. I’d go so far as to say that it comes the closest of any work of art to achieving the surrealist’s goal of directly capturing the unheralded, spontaneous movements of the mind, free of all the overlying structure of symbolism and rational thinking. And with the final shot, in which a woman slowly, repeatedly opens and closes her eyes, with her eyelids painted to look like her eyes, the film continues its process of dissolution by mixing the waking state with the dreaming one. The spontaneous, disconnected dream-state is an inextricable part of the rational waking state, and vice versa