At Land invests in the ideas of time and space of the 19th century. Even though this film does not succeed completely in replacing the literary conventions and the symbolic meaning by specifically cinematographic means, it is much more advanced as an experimental film than the two previous ones (Meshes of the Afternoon, Witch’s Cradle). Sequences such as the ones on the dunes, where the camera is stopped so that the character walks through a long distance before it is reshot (with the result proposing a continuum), produces a reduction in the size of the character and aim at a strong emotional impact that could not have been translated in cinema in any other way. We can say the same about the repeated technique of linking two different places through the continuum movements of a character. In the last sequence where she runs through times already past or that continue to stop.