When we lie down to sleep, during the few minutes when the eyes close and the brain moves as though engaged in a gentle dance, like a pendulum moving back and forth, a journey takes place along the thin line between wakefulness and sleep. This journey, known as hypnagogia, is a meeting point between the conscious and the subconscious.

Many experience this meeting as a field of shadows and images, as an elusive image that appears for a moment and disappears. The Sages called this state: “Nim and not Nim, Tir and not Tir” (Talmud Bavli, “Tractate Pesachim,” page 122, 2) – a description of a state in which a person is neither fully awake nor asleep, hearing voices or experiencing messages, but not fully aware of them.

In the film by the creator Dafna Inbar, the dimension of a dream and the hypnagogic state are combined into a visual creation. Over the course of a long period, Inbar had the same recurring dream: a living and breathing orange field against a pink sky, in which a character maintains a symbiotic relationship with a snake. The character is bitten by the snake, eats it, digests it, and then vomits it until actually becoming a snake.

In Judaism, the snake symbolizes renewal and transformation – shedding its skin symbolizes internal and formative change. In the film, both the character and the snake undergo a constant process of change, connection and development, within an intermediate space where boundaries of logic are breached.

This infinite range of images, sounds and colors embodies the connection between the known and the unknown, between the earth and the sky. It invites us to sink into the dream, into the space where reality blurs, the subconscious awakens, and creation takes shape in a process of re-creation.