There is nothing experimental about any of the setting, nothing unconsidered or strained or over-considered.

It seems experimental because it is thrown into contrast with extreme commercial formulas in the regular line of the "movie trade." But compare The Cabinet of Dr.Caligari with a book of Rackham or Du Lac or Duerer, or Rembrandt's etchings, and Dr.Caligari is more realistic.

And Eggers insists the whole film is replete with suggestions of the work of Pieter Breughel, the painter.

Hundreds of indoor stories will be along such lines, once the merely commercial motive is eliminated, and the artist is set free.

This film is an extraordinary variation of the intimate, as expounded in chapter three.