If Brakhage's work is mostly about the de-privatization of privileged "viewing" (I say "if" because honestly, I'm only speaking of what I get out of these films, not necessarily about what he intended), then this is his film about animalistic "sight." Most of it is from the "perspective" of animals, low to the ground, moving jerkily among familiarized environments unusual to human eyes, and lovingly tracing the movements of animals. There is a duck, there is a dog, there is a raccoon, there is a snake. The dog and the raccoon interact, but one of the things Brakhage is hinting at is that this interaction and experience is being done olfactorily: the two only really smell each other's presence, even if literally the two are in frame together (through superimposition and direct interaction). The snake is similarly visually de-emphasized, as his skin is the experience through which we "feel" how he "feels".
--PolarisDiB
--PolarisDiB