newyorker: Night Shift with “The Clock” When your brain is really feeling fried, dream sequences take over. Kevin Spacey gazes up at the ceiling, where Mena Suvari is floating amid rose petals. Shortly after two-thirty, the Salvador Dalí nightmare from “Spellbound” is cleverly paired with another Hitchcock clip: Jimmy Stewart, who rouses himself after dozing in front of his rear window. The funniest take on sleeplessness belongs to Buñuel. To great effect, Marclay spreads out a sequence from “Phantom of Liberty”: just after one, the husband, struggling with insomnia, sees a cockerel walk into his bedroom. Three hours later, a giant emu waltzes in. Watching “The Clock” at these obscure hours might also turn you into a feminist film critic. In the movies, men have plenty of adventures in the dead of night: Jason Statham goes on a stakeout, Steve McQueen prowls through tunnels, the gang from “Rififi” pulls off its heist, and the gang from “Scarface” stays up laundering money. But Marilyn Monroe, Bette Davis, and Sharon Stone have little to do but toss in their sheets. - Daniel Zalewski on experiencing all twenty-four hours of Christian Marclay’s “The Clock” - the perpetually churning video collage, in which thousands of movie clips have been arranged so that they correspond with the actual time of day. Read More: Zalewski profiled Christian Marclay in a recent issue of the magazine.