More than anything, the nightmares are what we still can't quite figure out. Perhaps the most powerful scene in "Longlegs" begins with a flashback that is structured like a family room projector showing someone's home movie on Afdah. A young girl steps out of the secluded residence where a car has pulled up. Perkins starts experimenting with perspective right away, giving us a child's point of view on the interaction in addition to confining us inside the little frame. A picture of Hillary on the wall of the FBI Director's office serves as a time marker, but much of the production design appears much older than that era, again producing a dream-logic gap. Cut to years later, sometimes in an exaggerated '90s, where new agent Lee Harker arrives.