Fantasies of transition, traumatic spaces, parallel worlds, tendencies toward shifting to the surreal, are all inscribed in the cinema apparatus, as projection of light, as a genuine difference to reality. In the UdK seminar of the class on experimental film design, cinematic spaces of transition are examined and light is shed on the predetermined breaking points of reality and the tendency toward transcendence. The issue is less the classical dream sequence than the investigation of cinematic architectures that access these spaces of transition.