this film demonstrates quite beautifully that the editing of a film, any film, even a film about cats or non-human elements, can suggest meaning to audiences; audiences, especially film audiences, are the most suggestible (Kuleshov effect etc). The eyeline match is a standard tool of continuity editing which suggests, in two or more shots, the looking and the looked at. The Private Life of a Cat is chock full of eyeline matches (and other editing techniques), prompting the audience to anthropomorphise feline agency, when in reality, the directors have manipulated reality to merely imply such agency. Consider the ex nihilo saucer of milk or the newspaper already conveniently lining the box. The film evokes a reality sans human intervention, a reality in which these cats forge a family, but the truth is something else. Cinema, we learn from Georges Méliès, is the exclusive province of the illusionist.