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This essay comes a few years after several public presentations of the video installation Uncanny River (the crossing) (2014–15), of which I am the author. My extensive involvement with audiences revealed their disquiet regarding the piece’s uncanniness and the illusory and perceptual phenomena that captivated them for a long time. The installation is composed of video recordings of a river seen from above, which is rear-projected onto a vertical sheet of glass reflected by a mirror set at a right angle, producing symmetrical compositions that continually dissolve and are replaced by an endless succession of new compositions.