Top 10 Best Surreal Movies Movies come in different genres which are horror, romantic, comedy and even surreal genres. However, only a few directors were only working for films that were based on surrealism. Surreal films are the kind of films in which you found it strange and you will also think that this kind of films exists. Below is the list of the most surreal films. 1. The Exterminating Angel (1962) This film was the best surreal movie. The story started when Leticia and his husband Edmundo hold a prolific party for the people that belonged to Mexican high society. That was when the servants of the mansion escape but to a surprise, the guests mysteriously sat in sofas and chairs and, remove their jackets to stay for the night. This means …show more content…
There were also mannequins that were tied and posed as if they were degraded or tortured. The director of the film had a great job for using some strange things with storyline and time. 9. The Beyond (1981) The Beyond was an Italian surreal horror movie that was directed by Lucio Fulci. The plot of the story was about a haunted hotel that had a gateway leading to hell. The director said that the film, The Beyond was composed of a series of unrelated and horrendous images. This film was the most surreal movie of Fulci. A few of the surreal scenes in the film were tarantula based disorder, a Satanist’s crucifixion, zombies hungry for human flesh and a throat being ripped out because of a dog’s attack. 10. The Seashell And The Clergyman (1928) This film was written by Antonin Artaud and directed by Germaine Dulac which was about a priest who was lusting after the General’s wife and often he had these weird erotic dreams and hallucinations. However, because the BBFC did not find any meaning of the film that is why; The Seashell And The Clergyman was banned. It was said that the film had these scenes that were imposibble to comprehend and hard to know what was
... To be hones though, the film still confuses me. The most confusing part was the images of all the objects. I watched this scene on repeat several times to try and figure out what some of the stuff was just so I could understand. I still don’t really get it.
...y their way of acting. Their facial expressions and the awkward silences kept me interested. I enjoyed watching this film because the story was easy to understand. I didn’t have to pause to replay a scene just to comprehend what was going on. The actors spoke very clearly and that’s very important to me because I never want to focus on the subtitles when it’s not necessary. What I didn’t like about Secrets and Lies was the character Cynthia. She didn’t have mature manners and kept crying instead of solving her problems by searching for a solution. What surprised me was the mature behaviour of Hortense. Her mother should definitely take her as an example and learn how to behave well. I expected her to be very angry and hateful at her mother but instead she acted modestly, discreetly and purely. Once again, I’ve understand that secrets and lies will get us nowhere.
Canadian filmmaker and cinephile, Guy Maddin once said, “I do feel a bit like Dracula in Winnipeg. I’m safe, but can travel abroad and suck up all sorts of ideas from other filmmakers… Then I can come back here and hoard these tropes and cinematic devices.” Here, Maddin addresses his filmmaking saying that he takes aspects from different film styles and appropriates them into his own work. In The Saddest Music in the World (2003), Maddin uses a combination of French Surrealist filmmaking and classical American Hollywood cinema, specifically melodrama, to create his own style. In an article by William Beard, Steven Shaviro talks about Maddin’s filmmaking, and he links Surrealism and melodrama together saying, “Maddin’s films are driven by a tension between romantic excess [melodrama] on the one hand and absurdist humour [Surrealism] on the other.” In regards to The Saddest Music in the World, the relationship between Surrealism and melodrama is not one of tension, as Shaviro suggests, but one of cooperation. This paper will analyze two films by filmmakers Maddin was familiar with —Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali on the Surrealist side, and All That Heaven Allows (1955) by Douglas Sirk on the melodrama side—to showcase the important elements of each, concluding with an analysis of The Saddest Music in the World in conjunction with both film styles. Ultimately, it will be shown how Guy Maddin combines French Surrealist cinema and Hollywood melodrama in The Saddest Music in the World, to create his own unique film style.
"Horror Movies 2013." movieweb.com. N.p., n.d. Web. 3 Dec 2013. .Noton, Adriana. "A Brief History Of Horror Movies." Ezine Articles. Spark Net, 10 Aug. 2010. Web. 1 Dec. 2013. .
With the rise of the counter-culture and experimental film in the 1950s and 1960s there were plenty of bizarre movies, but in the1970s, we start to see a plethora of films that descend into absolute insanity.
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has lead several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island. It is laced with influences from different films of the film noir and horror genre, and many themes that are directly linked to Das Kabinett des Doctor Caligari shot 90 years prior.
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
Antirealism in film transcends and brainstorms the fantasies that never become reality. Even though antirealism is apprehensive with a smaller amount then actual stuff, our observation for an...
The film is about Florence Cathcart, an author and debunker of the supernatural, sometime in post-World War I. After a boy 's death, she is requested to investigate a boarding school that is reportedly having sighting a ghost on the grounds. She soon finds out that there is more to the story.
In recent decades, many have argued that the line between realism and fiction in cinematic endeavours has become increasingly blurred. It has not been until recently that the world has truly been exposed to this completely innovative cinematic style, which has captivated audiences with its new approach to filmmaking. This new cinematic style was first introduced in Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project. Here I will focus on breaking down the various levels of realism within The Blair Witch Project, in order to convey why it had such a monumental impact on the cinematic world, while still remaining a popular and modern horror film to today’s audiences. In order to achieve this I will pay particular attention to the style of filming, the clever marketing campaign and the combination of fact and fiction, which helped captivate even the most, experienced of cinemagoers.
...director did not limit the film to its historical context but extended the same to romance and fantasy. From a different angle of view, the director made use of the theme to communicate with the viewers and the fictional characters can be considered as his tools. Besides, ample importance is given to historical and fictional characters. In short, the amalgamation of history, fantasy and romance constituted much to the film’s importance as a historical/fictional masterpiece.
While Imitation of Life 's main story involves the fortunes and loves of a central female character, this story intersects with the racially charged trials and tribulations of an African-American woman and her light-skinned daughter. Both films offer the view that a white woman can improve her circumstances with enough guts, ingenuity, and physical attractiveness, but that African Americans, even those light enough to pass for white, are inherently unable to realize the rags-to-riches dream of the self-made person that infects Americans to this very day.
Film genres are categories, classifications or groups of films that have a similar, familiar or instantly recognizable patterns, techniques or conventions that include one or more of the following: setting, content, themes, plot, motifs, styles, structures, situations, characters, and stars (filmsite.org and notes). There are many categories of film genre. These categories can cover practically any film ever made by man, although film categories can never be precise. By isolating the various elements in a film and categorizing them in genres, it is possible to easily evaluate a film within its genre and allow for meaningful comparisons and some judgements on greatness. Some genres are considered period-specific, occurring primarily in one time period. One such example is film noir (filmsite.org).
Analysis of an aspect of visual form in the film ‘Repulsion’ In the 1964/65 film ‘Repulsion’ by Roman Polanski, the story is about the conflict between reality and fantasy or sanity and insanity inside the main character’s mind – Carol played by Catherine Deneuve. Therefore the narrative technique of symbolism is used to display visually to the film’s audience what happens to Carol’s mind. In this particular instance, the degeneration of Carol’s state of mind is symbolised.
Wildlike tells the story of a 14 year old girl who escapes her sexually abusive uncle by travelling across the Alaskan wilderness with an older widowed man. The unlikely pair strike up an, at first, reluctant friendship, but slowly come to have a deeper understanding of each other and the purpose behind their travels. The film features several disturbing scenes in which Mackenzie is molested by her uncle and does not shy away from portraying how hideous sexual abuse by a family member is. In the film, it was nearly impossible for any onlooker, such as the uncle's friend or Bart at first, to realize that Mackenzie was being abused and needed help. This raises the question of how to tell if someone is in distress in public or if people can be