“” — A very relative term for everybody and everything, meaning very strange and unusual, unexpected, or not natural; I look at it this way: “We’re all weird, I’m weird, you’re weird, everything around us is also weird—In fact, we’re all surrounded by nothing but a strange atmospheric weirdness” — Strangely though, the term, “Weird” is one of the most noted exceptions to the “I before E except after C”— spelling in . — Just thought you should know that’s all. We all share the same gift of being unearthly or uncanny to fantastic or bizarre characteristics of , a.k.a— “ ” — So of course, are no exception. In fact they are the weirdest of all “ ”. If you think about it, all and every movie is weird. I mean, the whole “motion picture” or the “moving scenarios” — photoplay or a series of still images which creates the illusion of moving images creates a psychological effect due to the phi phenomenon, leaving us weirdly amazed. Weird, isn’t it?
Now, ‘Emotional Intelligence’ is the ability to understand and to regulate emotions in oneself and in others. High EI is associated with more optimism, greater impulse control, better mood, more empathic perspective taking, more closeness and warmth in relationships, greater marital satisfaction, . more cooperation in a Prisoner’s Dilemma situation, more persistence under frustrating circumstances, better adjustment to university in beginning students, higher first year university grades, higher supervisor performance ratings in an undergraduate psychology internship. EI can be measured as an ability, using a test similar to an IQ test, or it can be measured as a personality trait.
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*About the List*
In my “Weird”below, I’ve weirdly divided the description of each in three pointers—so that you’d find it more interesting to read; But this is not a ranking of the best-good-worst or weird-weirder-weirdest in any way whatsoever. Since these are the weirdest I’ve seen so far — I can’t actually rank any of them above or below one another or in that particular order. Thus, they’re all weird, but that’s not arguably weird is it?
♠ “The Movie”; (a short description of the film) ♠
♣ “What’s Weird”; (why it’s weird, exactly) ♣
♦ “Weirdest Moment” (you know, those—wtf—moments) ♦
This is a list of the weirdest films ever. I have restricted the list to not included obviously weird films from the Dada movement. These are the sort of movies that leave you amazed but at the same time saying “WTF” as the credits roll. But not a single “” on my list is considered to ‘gory’ or ‘grossy’ or to be bad. (Well, except for just one. You’ll know it, when you see it!). The films on this list are bound to, somewhat trigger your ‘E.I.’ — if you don’t know what that is here’s the official statement: Doesn’t matter/Nobody gives… a * — blatantly. (I went to Oxford so I happened to have gobbled up all sorts of unnecessary crap, unintentionally).
♠ NOTE ⇒ There are a few foreign films in my list, so yes, I speak more than four languages. (Okay, barely but still).
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“25 Weird Films and Their Weirdest Moments!”
— to Question Your Emotional Intelligence.
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⇒ Spoiler Alert⇐
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Directed by, is “the psychological story of a soul, observing the repercussions of his death, seeks resurrection.”—Which is one of the weirdest reasons this film is at the top of my weird movie list. It’s one of kind—a strange and tragic story! Nevertheless, it’s one hell of a picture in motion. It is loud, garish, ugly and staggeringly empty. If your idea of visionary filmmaking is someone flashing brightly colored lights at you, then count yourself in for a treat; you are about to experience some visionary filmmaking. The rest of us will get a repetitive shuffling of unpleasant individuals doing unpleasant things, intercut with lots of neon and occasionally a towering penis shoved in our faces (Thank God it wasn’t shot in 3D). I don’t care how amazing of a technical experience this is. Not only does the emperor have no clothes. He’s teabagging your wife.
Worth watching? Just that one time for a lot of you, probably (if not surely). It’s not the greatest film ever made, possibly one of the most memorable cinema experiences in terms of effects, it’s overlong, uncomfortable, and excessive, but of course, it’s worth viewing as there aren’t many movies like it. I’m not epileptic, but I do suffer (even though I hate using that word in this context) from hypnagogia (sleep paralysis.) If my understanding is correct, this movie is centered (loosely) around DXM, which triggers lucid dreams. I feel like, because of that, I would be able to relate to what I’m seeing, and I find the concept of the movie fascinating. Still going to watch it tonight. We’ll see how it goes. I know it’s not a horror movie, and I’m not worried about being “scared,” per se, I just know it’s incredibly real and explicit, and don’t want it to keep me awake at night because I can’t get the images out of my head.
My views: “”— is, in its way, just as provocative, just as extreme, just as mad, just as much of an outrageous ordeal: it arrives here slightly re-edited from the version first shown at Cannes. But despite its querulous melodrama and crazed Freudian pedantries, it has a human purpose and its sheer deranged brilliance is magnificent. This is a grandiose hallucinatory journey into, and out of, hell: drugged, neon-lit and with a fully realised nightmare-porn aesthetic that has to be seen to be believed. Love him or loathe him – and I’ve done both in my time – is one of the very few directors who is actually trying to do something new with the medium, battling at the boundaries of the possible. It has obvious debts, but “Enter the Void” is utterly original film-making, and Noé is a virtuoso of camera movement.
The movie: This psychedelic tour of life after death is seen entirely from the point of view of Oscar (Nathaniel Brown), a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda (Paz de la Huerta). When Oscar is killed by police during a bust gone bad, his spirit journeys from the past—where he sees his parents before their deaths—to the present—where he witnesses his own autopsy—and then to the future, where he looks out for his sister from beyond the grave.
What’s weird: Gaspar Noé’s second film on this list (Irreversible) is messed up for numerous reasons. Most notably the director’s style in this movie and the way he can deeply immerse the audience into his movies and take us on a batsh*t crazy psychedelic journey makes Enter the Void the weirdest movie of the millennium.
Weirdest moment: Oscar watches a sex scene from the inside of a woman’s birth canal.
By the way: During the first sequence in the “Sex, Money, Power” strip club, the camera and jib/crane are visible in the reflection of the platform the dancers are on.
The ‘Opening’ End Credits
Gaspar always begins his films with the end credits — he intends to create a gateway to his story with the titling sequence at the start. Like in his other film ‘Irreversible’ (the 2nd film on this list) with Monica Bellucci and Vincent Cassel, the whole story was a flash-back. The film starts with the end credits to tell the story using an incredible flash-back structure.
Like sighs from a scythe in a wheat field of psychosis, the opening title sequence for Gaspar Noé’s Enter the Void is a melting onslaught of typographic design foisted upon the senses. This unrelenting visual overdose hacks pleasurably at the viewer, as the tip of a nail does finding its destiny. Names become bright little deaths fired to a machine gun beat; the images encircle your pupils as LFO’s “Freak” drives the nail deeper.
And simply due to their experimental and potentially offensive themes, Noé’s films seem to generally keep out of the mainstream — but “Enter the Void” is perhaps his most accessible and maybe even his most pleasant, so make sure you don’t pass over this one. It’s available for streaming on Netflix so there’s really no excuse to not see it.
Even though— some may find —— detestable and objectionable, though if they affect to find it “boring” I will not believe them. For all its hysterical excess, this beautiful, delirious, shocking film is the one offering us that lightning bolt of terror or inspiration that we hope for at the cinema.
♠ More info:
Again theis .
It has been years now since Noé released his notorious rape-revenge film, an ultra-violent, ultra-extreme movie that effortlessly exceeded in shock value anything, by anyone, at any time. I myself, having admired his previous feature, Seul Contre Tous, reacted fiercely against it as a piece of macho provocation. Rereading my review now, I find none of its points wrong exactly, but I have to concede the possibility that I was just freaked out in precisely the way Noé intended. Having staggered out of the auditorium, my eyeballs still vibrating from the director’s trademark sado-stroboscopic white light display, I may well have succumbed to a convulsion of disapproval.
Irreversible has been associated with a series of films defined as the “cinéma du corps” (“cinema of the body”)
My views: First, above all, and crucially, the story is told backward. Two other films have famously used that chronology: Harold Pinter’s “Betrayal,” the story of a love affair that ends (begins) in treachery, and Christopher Nolan’s ““, which begins with the solution to a murder and tracks backward to its origin. Now, consider this — falls somewhere in between the two— The fact is, the reverse chronology makes “Irreversible” a film that structurally argues against rape and violence, while ordinary chronology would lead us down a seductive narrative path toward a shocking, exploitative payoff. By placing the ugliness at the beginning, Gaspar Noe forces us to think seriously about the sexual violence involved. The movie does not end with rape as its climax and send us out of the theater as if something had been communicated. It starts with it, and asks us to sit there for another hour and process our thoughts. It is therefore moral – at a structural level.
Unique & Weirdly Stylish: It begins with—well, in “reverse”—Ending credits. Reversed. No first names. Only surnames. Various letters mirror-inverted. Slowly rolling down. Slowly sloping. Slowly moving across the screen. An image of a man sitting in a bed, tumbling.
Then, a fanfare. Large drums. Names appear. Titles. Words. All glimmering. Red. White. Yellow.
: “Le temps détruit tout” — “Time destroys everything”
“”— has the ability to make you appreciate and cherish your life, in part because it shows you how easily your happiness can be taken away. It is a film that will allow you to love those around you even more than you already do. Any film that can do all that is a masterpiece in my book. The eye catcher? Of course it’s, —highly regarded as being one of the most beautiful women in the world—and nobody in their stable/healthy mind would ever want to see her getting brutally beat up and raped!
To quote, “a movie so violent and cruel that most people will find it unwatchable.” (True!)
“” — happens. It happens to someone, somewhere in the world, every minute of every day. To avert your eyes is to deny that it exists in your world. To turn away is to shirk responsibility. This film is truthful in its depiction of that horror and the feelings of vengeance that inevitably follow. The camera looks on unflinchingly as a woman is raped and beaten for several long, unrelenting minutes, and as a man has his face pounded in with a fire extinguisher, in an attack that continues until after he is apparently dead. During that moment the camera remains a static, unflinching observer to Monica Bellucci’s Alex as she is violently raped in a stark blood-red tunnel by a stranger (Jo Prestia). The camera, and thus the viewer by proxy, is a voyeur, a peeping tom viewing the proceedings of the night with cold nihilism.
There will be those that are repulsed by this film, a film that can makeseem like a little girl’s fairytale. If you are one of those who refuse to watch ‘Irreversible’ or one who watches and is offended… then you are living in a fake fairytale world of your own. This great French film is as brutally truthful and poignant as any in recent memory. It is one of the saddest films I have ever seen. And yet, because of it’s reverse chronology, the final scenes of blissful romanticism are some of the most beautiful and heartbreaking moments ever committed to the silver screen. This is a courageous and magnificent artistic achievement!
The movie: Twelve scenes in reverse chronological order featuring a traumatic night in Paris. (Irréversible contains thirteen scenes presented in reverse chronological order.)
What’s weird: Director Gaspar Noé not only bends our minds by making the movie go backwards a la Memento, but also shows some of the horrific events backwards.
Weirdest moment: The extended 10 minute long take rape scene of Alex (Monica Bellucci), what else? — But how can I just ignore the scene where a man is savagely bludgeoned to death with a fire extinguisher?
: Vincent Cassel and Monica Bellucci were real-life married couple at the time.
♠ More info:
This has got to be saddest film I’ve ever seen!
Various unique stylistic elements that make up Requiem for a Dream, the plot is a tragic but quietly beautiful story about addiction and obsession. Adapted from Hubert Selby Jr.’s novel of the same name it is, without any doubt, one of the most depressing screenplays ever written. But the post-viewing feeling of emptiness is part of Requiem for a Dream’s excellence. It’s difficult not to love the film in spite of the story’s cruelty, and admire the craftsmanship that made it.
The movie:’s most noted film about 4 people indulged in drug addictions. They descend further and further down the spiral until their untimely ends. With lines like, “In the end it’s all nice”—turns out to be deliberately made or meant to deceive, all of us.
What’s weird: Aronofsky’s disturbing look at addiction is topped off with Ellen Burstyn in arguably her greatest role as a woman overdosing on diet pills to get a role on her favorite tv show.
Weirdest moment: Marion () and another prostitute are forced to have sexual intercourse using a double ended dildo.
More info: Requiem for a Dream.
If you can imagine the state of mind I’m about to describe, you will understand‘s 1996 erotic thriller — “ .” It is that trancelike state when you are drawn to do something you should not do, and have passed through the stages of common sense and inhibition and arrived at critical velocity. You are going to do it. This film is about characters entranced by a sexual fetish that, in fact, no one has. Cronenberg has made a movie that is pornographic in form, but not in result!
The movie: “Crash” — is a film that pushes sex to new levels as its premise is to shock and provoke. Dealing with elements of destruction, sadomasochism, homosexuality, infidelity, and all sorts of stuff, Cronenberg takes everything to the extreme for this intense film. It’s like a porno movie made by a computer: It downloads gigabytes of information about sex, it discovers our love affair with cars, and it combines them in a mistaken algorithm. The result is challenging, courageous and original–a dissection of the mechanics of pornography. The characters of “Crash” carry this awareness a step further, cherishing and nurturing it. For them, a car collision is a sexual turn-on, and a jolting life force they come to crave.
What’s weird: The movie begins with a woman pressing her breast against the metal of a shiny new airplane. Then she licks the paint, while her lover licks her. Now, take out the crashes and the injuries, and substitute the usual romantic movie story line, and it would be easy to understand this progression.
Strangely enough (or not) then ‘Ban This Film’ campaign actually drew audiences to see what all the fuss was about. Working in the video store at the time. People really wanted to see ‘Crash’ mainly due to the fact they were being told by the newspapers that the film was sick and should never be watched.
Looking back on “Crash,” the film is still very powerful. But its not a scene or even ten scenes that makes the film so unnerving. Its extremely voyeuristic and I think that’s what unsettles people the most. The audience watching unlikeable characters doing things to each other that we aren’t meant to see in a world we wouldn’t really want to live in.
Weirdest moment: All of it! When a college president makes dirty phone calls, when a movie star or a TV preacher picks up a hooker in a red light district, you, I & we ask ourselves: What in the world were they thinking of? The answer is, they are thinking (a) I want to do this, and (b) I can get away with it.
More info: Crash (1994).
“Visitor Q” (ビジターＱ, Bizhitā Kyū) is a 2001 black comedy/drama film directed by the highly prolific and controversial Japanese director. The legendary Japanese filmmaker, often delights in putting off the audience with controversial subject matter and this film is no different. Modeled loosely after ’s , the life of the archetypal nuclear family is interrupted by the sudden appearance of a stranger (Watanabe). He invades their lower middle-class existence (which is nary more than a floundering search for “existence”) and fells their walls of denial and projection through intimidation, inference, and the liberation of their insecurities.
The movie: A troubled perverted and dysfunctional family of four are visited by a strong man who tries to teach them the joys of life in a completely horrific manner. Hence, the tagline: “The only thing stranger than this family is… Visitor Q.”
What’s weird: I can’t tell if it would be more disturbing if it wasn’t so funny or that the fact that its actually funny is disturbing.
Weirdest moment: The dad of the family attacks a group of school bullies.
More info:— ;
“” —(Greek: Κυνόδοντας) is a “Un Certain Regard” (which recognizes works that are either “innovative or different”) prize winner at and an nominated 2009 Greek film directed by . (only the fifth Greek film so honored).
The movie is made more from concepts than from imagery. Example? Most likely, the scene that makes the biggest impression is the one that best encapsulates the family’s strange rituals. To celebrate their parent’s wedding anniversary, the two girls perform an awkward, shuffling dance, as invented by two children who have no knowledge of choreography, while their brother accompanies them on guitar. After the younger girl bows out, the rebellious older one begins throwing her body around with bizarre, manic abandon, until her parents object to this display of individuality.
The Movie: “Dogtooth” — follows a family so gripped by its patriarchal system that the entire reality and perception of the unit is distorted to horrific proportions. The father (Christos Stergioglou) is lying to himself that, by bringing up his son and two daughter’s to be scared of leaving the house, is for their benefit rather than his. This idea is shown to be at its most extreme as all three of the “children” are in their early twenties and have clearly been brought up without a normal education; they believe that outside the house lies danger, that planes going over land in the garden and are in fact toys. They even believe that cats are deadly and end up killing one in fear with a set of hedge shears. The illusion, however, is being stretched by the natural instinct of their age, with the gradual questioning of the twisted father leading to some form of rebellion. The brother (Hristos Passalis), whose sexual demands are met by a paid nurse (Anna Kalaitzidou) who visits on occasions, is not being brought up to replace his father’s patriarchal position (in spite of sleeping with his sister when the nurse is found out to be supplying them with sweets and a video), which suggests that this is more than simply the product of a male dominated family unit but the concluding product of a paranoid, power hungry father whose love has twisted into the most perverted kind of overprotection.
What’s Weird: Almost everything! They speak a different language — a “zombie” is a “flower,” while “pussy” means “light” — and the only outsider granted access to the family is a young woman who performs sexual favors for the oblivious brother/son.
The father pays a young woman who works at his factory, Christina, to come to the house and have sex with the son. Frustrated with the son’s refusal to give her “Cunnilingus” —means “going down on her” dummy!—Christina trades her headband in exchange for oral from the elder daughter. (good thinking!)
Weirdest Moment: When Christina no longer available, the parents decide that, they will have the son choose one of their daughters or the son will choose one of his sisters as a replacement. After fondling both sisters with his eyes closed, he chooses the elder. She is uncomfortable during their sex and afterwards recites threatening dialogue from the filmto her brother.
Clip courtesy of
: said during an interview with , “Dogtooth is not a film that came from an image or a story I’d heard; it’s mostly the result of time spent wondering about human perception, and about whether people understand the world they’re living in,”.
When a film gets called “the bestfilm that Alfred Hitchcock never made” in its trailer, it has a lot to live up to. And– watching the trailer– it’s clear that Catfish definitely has the potential to be one darkly entertaining documentary.
Just because a film doesn’t feature buckets of blood doesn’t mean it’s not tense, or frightening, or that people aren’t being gutted. Just because the trailers trade on the trappings of the thriller genre doesn’t mean that Catfish is any less thrilling or tension-filled (almost unbearably so in some moments) to sit through. And lemme tell ya: it’s not “FAKE1!!!!!1″, and it’s not a mockumentary. Catfish is the real deal, and anyone that tells you otherwise clearly hasn’t seen the film in its entirety yet. I’m warning you now: stay far away from those that would seek to spoil this film for you, and ignore the claims that it isn’t real.
Clip courtesy of
— demonstrates that the internet and in this case allows users to not only share content, but to also steal content; to poach photos, videos, music and more and repurpose it for their own use. The current explosion of content on the internet and social networks provides users with the ability to pluck content off the web and create an entire identity with stolen information.
The movie: A documentary about a photographer (Nev Schulman) setting out to find the girl he met on Facebook (Megan Faccio) with upsetting results (Meg Faccio is actually Angela Bassett). Here’s Nev, just another loveless New Yorker who’s met a girl online. After nearly a year composed of 1500 texts, emails, letters, and phone calls, Nev decides that he’s going to make the leap: Nev will travel– unannounced– to his Facebook girlfriend’s home to meet her. What happens next? I can’t tell you—because I’m here to convince you to see the movie. (Do it!)
What’s weird: Not necessarily “Weird”, but a very unsettling look at the world of internet lies.
Weirdest moment: The resolution. Angela reveals all of the lies she told Nev via a package she sends him at the end of the film.
The movie: Guillermo del Toro’s masterpiece about a young girl living in the post Spanish civil war era who finds a portal to a magical fantasy world.
What’s weird: The mix between a scary fantasy and an eve worse reality makes Pan’s Labyrinth the best movie on the list, of course, not the weirdest.
Weirdest moment: The pale man is seen at a table with his eyeballs on a plate.
: The film is known for it’s visual art direction by Carlos Zaragoza —The Head of the art department is the Production Designer, who creates and develops the overall look of a movie, working closely with the director, cinematographer and visual effects supervisor.
“Rubber”—Probably was the most buzzed about film in the year of 2010’s Cannes (/Critic’s Week) was French filmmaker Quentin Dupieux’s wacky new film “Rubber” about an angry sentient tire that explodes people’s’ heads using psycho-kinetic powers. The film is self-defined (directly in the beginning) as an homage to “no reason” in film – as in, the idea that things happen “for no reason” in many films. And, for no reason, Dupieux decided to make a film about a tire that’s alive. Alas, there’s only so much anyone can do with this concept, and it doesn’t have enough to last a full film, so he uses some other tricks to keep it running for a full 85 minutes. “Rubber” is one of those bad-but-good films that deserves to be in a “Grindhouse” line-up from the 70’s. Not only does it have a story about a killer tire, but Dupieux plays with the audience in crazy ways.
The Movie: A movie about a sentient, psychokinetic killer tire? You had me at hello? Or your car tire? I think I’d already described the movie above. And the fact that this movie was stupid, anti semitic, and deconstructionist bull crap! It works on a premise that any genre structure, regardless of its origin or its story has no point other than to entertain. The director is an asshole that doesn’t understand story or narrative structure, but does understand how to thumb his fucking snobby noise at popular entertainment. It doesn’t impress, it only demonstrates the the flaws in the directors tiny view of life and the world around him.
What’s weird: The director actually introduces a live “audience” in the film that is watching the “film” about a tire. They make observations and watch everything unfold through binoculars as if they were idiot audience members watching this film play out, but he spends so much time with them (an even mix of both stories) that I started to get bored with the whole film about half way through. I mean, how much can you do with a killer tire and a small budget in the middle of the California desert?
Weirdest moment: Why you need one? The “tire” explodes people’s heads! A homicidal car tire, discovering it has destructive psionic power, sets its sights on a desert town once a mysterious woman becomes its obsession.
Unfortunately, Rubber—is not nearly as entertaining as its premise suggests. Through some unexplained phenomenon, a tire comes to life, rolls around, discovers the ability to blow things up with just by thinking about it, and begins stalking a sultry young female traveler (Roxane Mesquida). As the tire also kills a series of people, the police catch wind of the murder spree and try to stop it.
More info: Rubber (2010).
— is that 2004 American indie science fiction drama film, build on an extremely low budget (completed for $7,000), experimental plot structure, philosophical implications, and complex technical dialogue, which , a college graduate with a degree in mathematics and a former engineer, chose not to simplify for the sake of the audience. about the accidental discovery of a means of time travel. The film was written, directed, produced, edited and scored by , who also stars in the main role. The film collected the Grand Jury Prize at the 2004 , before securing a limited release in the United States, and has since gained a cult following.
The movie: A sci-fi thriller about 4 entrepreneurs who accidentally invent a machine that can quadruple the space-time continuum of anything that enters it.
What’s weird: The complicated and baffling plotline leaves viewers struggling to figure out exactly what everything in the movie means.
Weirdest moment: Aaron, one of the main characters, tries to explain that time inside the machine is slightly different than time outside of it.
: The operation of time travel in “Primer.”
HC2 — This is the only “bad movie” on this list! And undoubtedly the
The movie: Staging the events that happened in the first movie were literally nothing more than a movie, a troubled loner sets out to create his own human centipede with 12 people using homemade surgical equipment, most notably a rusty stapler.
What’s weird: Almost no dialogue is spoken through the entire movie. The black and white adds to a very gritty realism.
Weirdest moment: Barbed wire rape, baby head-crushing, you name it.
Read the full version here: “
“What? How could it get any weirder!?” I hear you cry! Well, who else could top a woman inhaling dough balls up her nostrils but no other than? Now, don’t get me wrong. We’ve now been through a lot of strange films, but Eraserhead is really the only one on the list which is constantly weird. As soon as you hit play, you’re neck deep in the bizarre and frankly terrifying world of Henry Spencer and Lynch doesn’t let up until the very last frame. It’s an extraordinary debut and there’s honestly nothing else like it around. Eraserhead isn’t a film you watch, but a film you feel. To truly appreciate it, you have to let yourself go and become immersed in the frightening world which Lynch has lovingly created.
A young David slaved over this film for three years and even ended up sleeping in the same bed as Henry for over a year. All of it was worth it though. Even directing legend (and friend of Lynch), Stanley Kubrick loved the film and made the cast of his masterpiece, The Shining, watch Eraserhead to get in the right frame of mind.
No one knows what the film is actually about, and no one ever will. Although, Lynch has said that in all these years he still hasn’t heard the correct interpretation. There’s no point trying to explain the plot, because that’s something you have to figure out for yourself. The film is an utter dreamscape which combines unsettling industrial sounds with startling, surrealist black and white photography. A man with groovy hair walks around a possible dystopian future and encounters a series of strange events. One involves a moving tiny roast chicken which spurts some sort of liquid out and another involves a seriously creepy chipmunk lady who sings in a radiator and also stamps on sperm. Eraserhead is one hell of a trip, and it’s a trip which thoroughly exhilarated me.
More info: Eraserhead (1977).
→ And by the way, before I forget, last year the New York Times claimed “The Greasy Strangler” as the weirdest film ever… thought you should know that’s all.
is a true indie film maker. He makes his movies his way and never seems too concerned with whether or not they’re accessible or will find an audience. But every few years, one breaks through and goes beyond his own cult audience, hitting hard with mainstream success. Movies like and will pop up, and remind regular movies goers that the dude who made is still around. The last movie of his that I remember breaking through big, was .
The movie: It’s the 21st century masterpiece— about a woman traveled to LA to pursue an acting career but has been disappointed by most of her encounters with film industry people and has failed to find success. Instead she strikes up a romance with a charismatic and successful actress.
What’s weird: Just to let you know guys, that took me 4 months to figure out. Sorry for the spoiler.
Weirdest moment: A man covered in dirt suddenly appears from behind a dumpster bin behind a restaraunt.
The movie: Melancholia is a planet that is heading directly towards earth. Justine (Kirsten Dunst) and Michael (Alexander Skarsgård) were recently married when news broke out about the planet. They have to fight for their marriage and their sanity in the knowing face of death.
What’s weird: Kirsten Dunst steals the show with her unshakable performance. Lars von Trier writes and directs one of the most depressing movies of the 21st century.
Weirdest moment: The ending, where Melancholia is about to crash into earth.
The movie: Philip K. Dick’s novel about an undercover narc () who takes effect from a new drug.
What’s weird: The entire movie is in a rotoscope animation fashion, making it a strange, yet compelling art house flick.
Weirdest moment: Reeves wears a “Scramble Suit” which continually morphs and blurs his body to protect his identity.
The movie:plays an insomniac factory worker in one of his most intense and dedicated roles to date.What’s weird: Christian Bale lost 60 pounds to play the role, then gained another 70 to play Batman in Batman Begins.
Weirdest moment: No exact moment in particular, just seeing Bale without his shirt on is messed up enough as it is. Seriously!
The movie: Ben, a young insomnia-stricken man takes a job in a local supermarket. With only his imagination to keep him entertained, he discovers that he has the ability to literally stop time.
What’s weird: The surreality of the whole aspect of stopping time isn’t weird, but very oddly compelling in a way.
Weirdest moment: Once again, no moment in particular. Director Sean Ellis’s film is full of beautifully weird moments.
The movie: A man is locked in a prison cell for reasons unknown for 15 years. In jail he learns that his wife has been killed. When he is released, he is given a phone and a sum of cash, and proceeds to find out what exactly is happening.
What’s weird: Honestly, if it wasn’t for the brutal violence, Oldboy would be a great action film with its brilliant storyline.
Weirdest moment: The main character hammers his way through a hallway of villains in a jaw-dropping single take.
“Life is one long insane trip. Some people just have better directions.” — Donnie Darko.
The movie: Donnie (), is a troubled student who is visited by a 6-foot tall man wearing a rabbit costume named Frank.
The actual plot of “Donnie Darko” —During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night, and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days, 6 hours, 42 minutes, and 12 seconds. He returns home the next morning to find that a jet engine has crashed through his bedroom. As he tries to figure out why he survived and tries to deal with people in his town, like the school bully, his conservative health teacher, and a self-help guru, Frank continues to turn up in Donnie’s mind, causing him to commit acts of vandalism and worse.
How? Like this: Dark. Darker. Darko.
What’s weird: Richard Kelly’s debut film is beautiful and bizarre. The audience hopes to solve questions asked by the film, but by the time the curtains close, we have more questions than answers.
“Destruction is a form of creation” – Donnie Darko.
The time stamp mantra in the movie “28:06:42:12” or how the long the world had left in the movie was created simply by adding or subtracting 1 to each number in how long a lunar cycle takes, which is 27:07:43:11. You can thank me (or astronomy) teacher for that.
Weirdest moment: A jet engine crashes into Donnie’s bedroom.
It’s bats*it confusing till the end if all these were just a dream or actual reality. If I had to name a few of the best twist ending movies, “Donnie Darko” would definitely make the cut. I would give this film a chance due to the fact that, after years of having seen it multiple times, I still don’t think I’ve understood the ending properly. But guess what? Stars Jake Gyllenhaal, Seth Rogen, and director Richard Kelly are all still unsure of what the ending truly is as well. They stated in interviews that at the wrap party Gyllenhaal and Rogan confided in each other that neither knew what the film was actually about. Kelly has stated that many fan theories can possibly be true. Most twist endings leave you in a sense of wonder and awe, quickly followed by a sense of understanding. “Darko’s” twist ending only left the door open for more questions. And don’t get me wrong that is a great thing in this case!
The movie: Good girl student Dawn gets closer to her guy friend, but the only thing that tries to hold her back from any sexual relationship is a little body problem.
What’s weird: She has teeth in her vagina. Yeah! “teeth” — That’s right, in her!
Weirdest moment: Basically any sex scene, as you can kind of tell… (But in case if you’re wondering, of course that happens, specifically!)
Yeah, talk about the worst thing that can possibly happen to you during sex, if you’re a guy. Eeh!
has earned a place in moviegoers’ hearts, not to mention plenty of “best movies of the 21st-century” lists. The mind-bending romantic dramedy with and is the perfect pairing of bizarre screenwriter Charlie Kaufman and whimsical French director . The movie is a radical example of Maze Cinema, that style in which the story coils back upon itself, redefining everything and then throwing it up in the air and redefining it again.
The movie: If you think this makes the movie sound penetrable, you have no idea. As the movie opens, Joel is seized with an inexplicable compulsion to ditch work and take the train to Montauk, and on the train he meets Clementine. For all they know they have never seen each other before, but somehow there’s a connection, a distant shadow of deja vu. During the course of the film, which moves freely, dizzyingly, forward and backward in time, they will each experience fragmentary versions of relationships they had, might have had, or might be having. This film in particular, is actually about a man named Joel (Jim Carrey) who is heartbroken to find out that his girlfriend (Kate Winslet) has gone through a procedure that deleted every memory of him from her mind, so he decides to do the same. In the process, he realizes that he still loves her, and will do anything to keep his memories of her.
What’s weird: The trippy visuals and directing style make for a movie that’s more confusing and complex than Inception.
Weirdest moment: Joel is shrunken down to half his size in a memory about his childhood.
The movie: David Lynch’s lighter side of filmmaking. Laura Dern plays an aging actress who discovers her new movie is plagued by a polish curse. Meanwhile, a family of talking rabbits hang out around the house. Is it a homage to Alice in Wonderland? Or a poisoned valentine to Hollywood? Any which way, even if you hate it, your subconscious will thank you for seeing this brilliant, bonkers film.
What’s weird: Laura Dern’s over the top performance as Nikki is unsettling to say the least. Also, David Lynch shot the entire movie on a handheld Sony PD150 camcorder, giving the film a gritty disturbing look.
Weirdest moment: Nikki’s face turns into a wide-eyed grinning nightmare.
This film is as beautiful as it is disturbing. It features one of the most transgressive climaxes ever filmed, and is my favorite Lars von Trier film.
shook up the film world when he premiered Antichrist at the 2009 Cannes Film Festival. In this graphic psychodrama, a grief-stricken man and woman—a searing and Cannes best actress winner Charlotte Gainsbourg—retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film.
The bodies are decomposing into the ground beneath them, perhaps signifying the hordes of people who had also succumbed to the evil depicted in the film.
The movie: Another art house piece by the great director Lars von Trier. A couple (appropriately named She and He) recovering from a loss retreats to a cabin in the woods to repair broken hearts, but things end up getting a little less comforting.
What’s weird: As many unrated arthouse horror movies go, this one is no exception. Most scenes in the movie are plagued with images that will stay with you for a pretty long time.
Weirdest moment: “She” decides to take extreme action, and snips off her clitoris with a pair of scissors.
The movie:plays an eccentric playwright who upon receiving a grant, uses the money to make a play about his life, recreating the entire city of New York inside a warehouse.
What’s weird: With actors playing actors playing actors playing real life people, the play keeps repeating itself, making Charlie Kaufman’s directorial debut a confusing paradox of theatrical production.
Weirdest moment: Caden (Played by Hoffman) is forced to cast long-time stalker Sammy as himself in a play within a play.
⇒ Honorable Mention⇐
The first film born from’s Dogme 95 movement, The Idiots takes place at a commune where a group of friends seek to upset the bourgeois by drooling, picking their noses, running around naked, and more. The Idiots is a stunning film — one that challenges the director, the actors and the viewer by pushing the boundaries of what filmmaking can be. On top of that, it is great entertainment that is itself very funny, while challenging attitudes and the hypocrisy of modern society, and questioning the rules and behavior that we all live by (and make films by).
A group of perfectly intelligent young people decide to react to society’s cult of an aimless, non-creative and non-responsible form of intelligence by living together in a community of “idiots”. Their main activity becomes going out into the world of “normal” people and pretending to be mentally retarded. They take advantage of this situation to create anarchy everywhere they go and try by every possible means to make people annoyed, disturbed, miserable, ridiculous, angered, and shocked. The films start as they recruit a new lost soul and introduced her to their megalomaniac leader.
The film was written in just four days as part of the Dogma 95 Manifesto. One of the many favorite films of Tom Six, the creator of The Human Centipede trilogy. I’ve mentioned one of them in this article
It was first Thai film to win the prestigious Palme d’Or, “Uncle Boonmee Who Can Recall His Past Lives” —centers on the last days of its titular character— “Uncle Boonmee”. The film is directed by Apichatpong Weerasethakul.
What’s it like in one sentence? A meditation on death and the afterlife through the lens of Buddhist thought and philosophy.
The Movie: Though often difficult to decipher, the quiet pace and gentle touch of Apichatpong Weerasethakul film, “Uncle Boonmee Who Can Recall His Past Lives”, makes for a spiritual and meditative film experience like no other. Uncle Boonmee is ill and his sister-in-law and her son visit as he becomes habituated to the new regiment meant to extend his foreshortened life. Moving closer to death, the barrier between the world of the spirits and that of the living dissolves, and Boonmee is met with his dead wife, his lost son, and of course, his past lives.
What’s Weird: The image above! — Questions of the unknown seems to be at the heart of this film, especially the search for greater truth. Appropriately cryptic, fears and desires transform into a hyper-emotion.
Watch: Uncle Boonmee Who Can Recall His Past Lives – Trailer:
Clip courtesy of
“A cinematic rarity, this will be a film to be discussed for years to come with a special warmth reserved for films that touch and change all those willing to open up their heart and soul to its influence.”—— Justine Smith of
Weirdest Moment: The excitement of discovery as well as the fear of an end blend into one. As Boonmee recalls past lives (and maybe even future ones), his identity becomes somehow more certain. We are not necessarily more privy to his mortal experience, but as his fragmented existence comes together he becomes more serene, and the audience does as well. Finding the meaning of life is futile, but finding peace in the journey is pivotal.
Marquis is a 1989 French-language film, produced in Belgium and France, based on the life and writings of the Marquis de Sade. All the actors wear animal masks, and their voices are dubbed. There are a few scenes involving clay animation. The film was a project by French cartoonist Roland Topor who earlier delivered the imagery for the animated cult classic La Planète Sauvage (1973).
It’s the story of, told with animal masks, claymation, and a talking penis. The tagline used in the US release was, “A bizarre tale of sex, lust, and the French Revolution.” (See: )
A talking? — This is one of the strangest movies I have ever seen. I found it just plain weird… kinda’ gives me the chills— in some places I don’t want all that chills, you know? However, I would probably watch it again if I have to just because it is so fascinatingly WEIRD!
“…a fascinatingly bizarre evocation of the sexual and intellectual passions of a certain M. de Sade… Imagine a blender churning R-rated Muppets, the fables of la Fontaine, both ‘Animal Farm’ and ‘Animal House,’ ‘Marat/Sade’ and ‘Me & Him’ — and you’ll barely begin to imagine the perversely defined universe created…” — Richard Harrington,| See the full review .
The Movie: The dog-faced Marquis de Sade is imprisoned in the Bastille for blasphemy, where he entertains himself by writing pornographic novels and holding long conversations with his talking penis. Among the other prisoners is Justine, a pregnant cow who claims she was raped and is carrying the King’s child. The prison’s Confessor plots to hide the bastard heir by claiming De Sade is the father; meanwhile, outside the Bastille walls revolutionaries would like to free the political prisoners for their own purposes.
What’s weird: Every character in the movie is based on a different animal and wears a animatronic masks that looks like it came out of a pile of designs Jim Henson rejected for Dark Crystal as “too creepy.” In between Machiavellian political machinations, these beasts have kinky sex with each other. The Marquis de Sade, a handsome canine, holds long conversations with his cute but prodigious member Colin, who has not only a mind but a face and voice of his own. As pornographic costume biopics recast as depraved satirical fables go, Marquis registers fairly high on the weirdo-meter.
Weirdest moment: Do you still need one?
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Have a Nice Day!
♠This was actually a part of an old Blog Article of mine from 2015/2016 (Which also got published in Paste Magazine & TOC). Some of it later turned into a Quora Answer. And now again back to a Blog Article.♣
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