Surrealism

Late for the Sky

Late for the Sky is a tightly focused, sparsely produced singer-songwriter album built around piano, acoustic guitar, lap steel, fiddle, strings, and jug. Written at Browne’s childhood home and recorded quickly with his touring band, it trades polish for presence. Its eight songs form a deliberate arc — from disorientation to cataclysm — held together by recurring motifs and restrained arrangements. It does not resolve. It does not soothe. It lands where it means to: in the space between a breath and a sigh.

Titanic Rising

A soft rock record about the world ending — and why holding someone’s hand still matters.

Black Moon

Louis Malle’s 1975 Black Moon is a self-contained, English-language French fantasy filmed at his Dordogne estate. Cathryn Harrison plays Lily, a young woman fleeing gendered violence who stumbles into a decaying château inhabited by talking animals, resurrected elders, telepathic siblings and a judging unicorn. Shot by Sven Nykvist with deliberate under-lighting and edited for hypnotic slowness, it rejects narrative logic in favour of sustained mood and symbolic recurrence. Though divisive, it won César Awards for cinematography and sound.

Brand upon the Brain!

Guy Maddin’s 2006 silent-film pastiche follows a man revisiting his childhood home — a lighthouse-orphanage — triggering twelve chapters of repressed memory. Filled with Freudian horror, surreal ritual, and maternal vampirism, it uses stylised performance, intertitles, and Jason Staczek’s score to build a world where trauma repeats like a scratched record. Narrated on screen by Isabella Rossellini, it is arthouse cinema at its most formally committed and emotionally raw.

David Lynch: The Art Life

David Lynch: The Art Life is a 2016 documentary shot over four years, composed entirely of Lynch’s voice (recorded across twenty conversations) and footage of him painting, sketching and caring for his infant daughter at home. Archival photographs punctuate his recollections of childhood in the American West, art school in Boston and Philadelphia, and the early days of his filmmaking career in Los Angeles. Directed by Jon Nguyen, Rick Barnes and Olivia Neergaard-Holm, it avoids commentary, context or interpretation — offering not a life story but a sustained, quiet immersion in Lynch’s sensory memory and daily practice.

Eyes Without a Face

Eyes Without a Face (1960) is a French arthouse horror film directed by Georges Franju, following a plastic surgeon who kidnaps women to graft their faces onto his disfigured daughter. Shot by Eugen Schüfftan and scored by Maurice Jarre, it sustains a tone of poetic anguish rather than visceral terror. Its restrained performances, deliberate pacing, and clinical visuals have earned it retrospective acclaim as a landmark of moral and aesthetic horror.

Hour of the Wolf

Ingmar Bergman’s 1968 Hour of the Wolf is a psychological horror film starring Max von Sydow and Liv Ullmann as a painter and his wife isolated on a Swedish island. As his visions intensify and his sleep fails, the line between hallucination and reality dissolves. Shot by Sven Nykvist on Fårö and Hovs Hallar, it uses stark naturalism to frame surreal imagery, with Johann Sebastian Bach and Lars Johan Werle on the soundtrack. It explores artistic collapse, intimacy under strain, and the unreliability of perception — not as metaphor, but as lived condition.

If....

Lindsay Anderson’s 1968 If.... is a black-and-white-and-colour satire of English public school life, following Malcolm McDowell’s Mick Travis and two peers as they move from quiet dissent to armed revolt. Shot across Cheltenham College and Aldenham School, it uses surrealist interludes, abrupt tonal shifts, and a fragmented narrative to dissect hierarchy, delegated authority, and the institutional reproduction of violence. Though its Palme d’Or win and critical acclaim attest to its impact, its refusal of psychological exposition and narrative closure makes it demanding — and enduring.

Inland Empire

David Lynch’s 2006 film Inland Empire is a digitally shot, scriptless, three-hour descent into fractured identity, filmed largely by Lynch himself on a handheld Sony camcorder. Laura Dern stars as an actress whose immersion in a cursed film role unravels her sense of self, time, and reality. Shot across Los Angeles and Łódź, Poland, it rejects conventional storytelling in favour of sensory accumulation, repetition, and ontological unease. Though labelled a horror film, its terror is structural — rooted in the instability of perception, memory, and representation. It premiered at Venice, where Lynch received the Golden Lion for Lifetime Achievement, and remains his final feature.

Les Créatures

Agnès Varda’s 1966 Les Créatures follows a writer recovering from a car crash on the island of Noirmoutier, as his real-life experiences blur with the science-fiction novel he is drafting about mind control and communal collapse. Shot by Willy Kurant and edited by Janine Verneau, the film uses red tints, abrupt cuts, and layered performance to sustain ambiguity between fiction and reality. Though commercially unsuccessful and critically divided on release, it remains a rigorous, unsettling study of authorship, perception, and the messy birth of narrative.

Arata Isozaki

Superliminal

Superliminal is a first-person puzzle game built entirely around forced perspective. Players manipulate objects by moving them while holding them, then dropping them at new apparent distances to scale them up or down. This enables climbing, bridging, and unlocking. Trompe-l'œil elements require precise alignment to become interactive. Puzzles involve navigating rooms to reach exits that are closed, elevated, or hidden. The game establishes a single, elegant perceptual rule—and sticks to it rigidly.

Lowbrow (art movement)

Salvador Dalí

Surrealism

Schiaparelli (fashion house)