"There are many things I could say about DAYLIGHT MOON but very few I want to before someone views the film. But I will say this--of all the films I've made using collage to muck around in the past, this one gets the closest to what I'm after." -- LK

"Lewis Klahr's collage films have always mimed the processes of memory by pulling together the discards of contemporary life (images from ads, text books, or comic books, objects such as game pieces, menus, playing cards) into scenarios that seem like some Hollywood film dimly remembered. In DAYLIGHT MOON, he reaches even further back, to try to recall the moments in which a small child configures the world out of patterns of visual fascination, a mode of seeing that relies on touch and the feel of things rather than deep space. One of his most abstract films, Daylight Moon rarely reveals a human figure. Instead of characters, Klahr gives us the play of enigmatic spaces and empty sites that promise both the invitation of desire and the discovery of crime." -- Tom Gunning, University of Chicago
"Hints of a crime drama hang over the generally abstract proceedings in one of the most exhilarating explorations of light , shadow, color, rhythm and melancholy in recent cinema. It's a virtuosic work of subtlety, seemingly composed of the type of memories Proust termed "impressions," which also carry the weight of existence." -- Chris Stults, Film Comment