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We Always Find Ourselves in the Sea is an atmospheric ghost story driven by its cinematography just as much as its characters. The story is of an estranged father and daughter, separated by a divorce. The father has fallen apart and really needs someone to pull him out of the dark. Throughout the film, color is used very selectively. Almost everything is drab, dull tones, except for the stunning red which surrounds Nina, the daughter. After Christmas Dinner, Nina and Patrick, the father, go have a talk. She tells her father of a memory, one he claims not to remember, before she disappears. The story hadn't been exactly happy, and shortly after, a woman in a mask begins to follow Patrick around. He attempts to drink away the memory, but that only induces a nightmare. The nightmare turns dangerous, and the next day, the site manager finds Patrick strangled by seaweed. This film is fantastic as a short. We don't know how or why Nina died, but we do know that she did not have a happy life with Patrick. It's implied that he drank to the point of forgetfulness and had more than your average temper. We know that Nina was seeking revenge. In the end, the details of Nina's life after Patrick and even her death don't matter. Heck, her life before her parents split probably doesn't matter to the story much. Without the uncessceary fluff, the filmmaker can spend more screen time on breathtaking cinematic shots, showing a world devoid of color, except for the color that surrounds Nina's coming and going. Every interaction between Nina and Patrick is also incredibly important to figuring out anything about either of them, especially with how few lines of dialogue fill the film.
An investigator finds F. W. Murnau's diary, which leads him to discover the secret hidden beneath the history of Nosferatu and a mysterious cult seeking the secret of eternal life.
On the night of a lunar eclipse a mysterious man finds a way to edit his own memories, by injecting secret fluids located in the brains of the recently deceased. While trying to erase his first memory of death he gets trapped inside the nightmare world of a dead prostitute that he shares a strange connection to.
It’s the middle of the 17th Century and a brother and sister are hiding in the garden of an isolated cottage in rural New England. When they enter the house and investigate the kitchen, they gorge themselves on the tempting cakes covering the table. It seems to good to be true.
It's getting late on a Friday night and Ralph is keen to get out of the office, but the boss won't let him. No big deal, right? It's just that the full moon is rising and Ralph is a werewolf.
Federation Officer Shapiro crash-lands on a desert planet with no sign of water, life, or a way off. Her crew-mate Rand is no help, resigned to his fate on the hypnotic alien dunes. Locating the ship's emergency beacon is their only hope, but when a salvage crew answers their distress signal, it's already too late.
A fancy dress ball takes place in a strange palace. The host is unknown. The theme: "your idea of human representation”. During the course of this mysterious and rather frightening evening, each guest is transformed into his own character and the intrigue thickens.
A cat named Lorenzo is dismayed to discover that his tail has developed a personality of its own.
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
David, an orderly at a hospital, tells his horrific story of being kidnapped and forced to play a vile game of survival.
