There are movies you see, and then there are movies you experience. This list compiles 16 of the strangest movies that must be seen to be believed. They break all the rules to surprise us, challenge us, and give us one-of-a-kind cinematic experience. If you are bored of watching those Hollywood cliches, this list of 16 strangest foreign movies is what you need for a change.
A young woman left her family for an unspecified reason. The husband determines to find out the truth and starts following his wife. At first, he suspects that a man is involved. But gradually, he finds out more and more strange behaviors and bizarre incidents that indicate something more than a possessed love affair.
Possession is definitely the film that requires many subsequent viewings. Excellent performances that frequently go way OTT, dreamily fluid camerawork and migraine inducing metaphorical horror, this is a true beast of the imagination.
The horror that constitutes the film obviously has its roots in the female hysteria. Watch this scene below and you will find the most hysterical female performance in movie history played by legendary French actress Isabelle Adjani.
2. Sweet Movie
“Sweet Movie” is very bizarre, surreal, funny and at times disgusting. It’s like Alejandro Jodorowky and John Waters teamed up to make a film. There are so many strange images in this film, I can’t even remember everything I witnessed.
Unfairly labeled as excessive and perverse, this film is really a very fascinating, intricate study into the recesses of the sexual mind. It looks at sex in all it’s complexities. It exposes it as a very primal need. It also shows how the sexual side of the person can have a personality all of it’s own.
3. Juliet and Spirits
Fellini casts his real-life wife, Guilietta Masina, as Guilietta – an upper middle class housewife whose life is coming apart. The film’s plot serves a vehicle for some of the most dazzling, psychedelic scenes ever put on film, all before anyone used computer graphics to make cinema more fantastic. Fellini uses costumes, makeup and, most of all casting of supporting actors and extras, to achieve his surrealism. His first film is color, this is Fellini’s most Felliniesque movie.
A very free adaptation of Marlowe’s ‘Doctor Faustus’, Goethe’s ‘Faust’ and various other treatments of the old legend of the man who sold his soul to the devil. Svankmajer’s Faust is a nondescript man who, after being lured by a strange map into a sinister puppet theatre, finds himself immersed in an indescribably weird version of the play, blending live actors, clay model animation and giant puppets. This movie is powerful, surreal, and more intelligent than any animation anywhere.
5. The City of Lost Children
“The City of Lost Children” is unquestionably one of the most imaginative and exceptional films of the entire 90′s decade and it pretty much represents an entire sub genre all by itself! It’s a dark and often disturbing fairy-tale, but nevertheless magical and child-friendly. The plot is that the evil and weird Krank kidnap children to stole their dreams due to the lack of his ability of dream. Or at least he did it, until it came One, in the search of his adoptive little brother, aided by Miette , a street smart orphan child.
6. Black Sun
This is a documentary with a strong visual signature. The director supports Montalembert’s narrative with vivid colorful images. As a spectator you, may often get the feeling that you are seeing through the subject’s eyes (Montalembert is blind indeed, but still has a very visual way of experiencing the world, as we learn). Montalembert’s hands are briefly visible during a scene where he tells a funny anecdote about loosing 14 written pages from his manuscript, Other than that, he is only present by voice and narrative.
An average man is kidnapped and imprisoned in a shabby cell for 15 years without explanation. He then is released, equipped with money, a cellphone and expensive clothes. As he strives to explain his imprisonment and get his revenge, Oh Dae-Su soon finds out that his kidnapper has a greater plan for him and is set onto a path of pain and suffering in an attempt to uncover the motive of his mysterious tormentor. Oldboy takes a hammer and “batters” its American equivalents, leaving them as pulped as a chewed up squid. Park Chan Wook displays what America misses with his ultra-stylish, ultra-violent thriller.
It has been said that Hausu is like Beetlejuice as directed by Dario Argento, only about ten times better than that would be. Not a minute goes by without some kind of imaginative and spirited experimental visual manipulation or interjection; from kaleidoscopic color schemes, to frame and time altering collage montage, to wild, high-concept mixed media integration, to mini-movie injections. Nobuhiko Obayashi’s film defies comparison, seamlessly blending comedy, horror, and gorgeous visuals in a way that really must be witnessed in order to be appreciated.