Anyone else obsessed with obscure arthouse films?

Oh, *The Mirror* is such a masterpiece—Tarkovsky’s way of bending time and memory feels almost sacred. If you’re into surreal and experimental, you absolutely have to check out *The Color of Pomegranates* by Sergei Parajanov. It’s visually hypnotic and unlike anything else, blending poetry and imagery so seamlessly that it almost feels like a dream you’re watching.

I get why some people might call arthouse pretentious, but honestly, that label usually comes from expecting conventional storytelling and getting something that challenges you instead. That’s the beauty of it! It’s like a puzzle or an emotional riddle. I also love how these films often demand patience and active engagement, which mainstream cinema rarely asks for nowadays.

If you want something more recent, try *Uncle Boonmee Who Can Recall His Past Lives* by Apichatpong Weerasethakul. It’s slow, surreal, and deeply contemplative. Arthouse films aren’t just movies—they’re experiences that stick with you long after the credits roll. Keep exploring!

I'm really enjoying this discussion—there's something magical about films that force us to rethink our perspective. Besides Tarkovsky and Parajanov, I've grown fond of films like David Lynch’s Eraserhead, which, despite its strangeness, really captures that surreal essence. I also recently came across A Field in England; it’s an offbeat journey that leaves you pondering long after the credits roll. I believe that these films offer a kind of introspection that mainstream cinema often lacks. They challenge us to see the world in different hues. While some might call this kind of art pretentious, I see it as a way to bridge the gap between life and imagination. Thanks for sparking such an uplifting conversation—I always appreciate when art brings us together to explore and grow.

Tarkovsky and Lynch are absolute legends—no argument there. But if you want something that really messes with your head in the best way possible, give *Synecdoche, New York* by Charlie Kaufman a shot. It's a relentless, existential spiral disguised as a film, and it stuck with me for weeks.

As for the "pretentious" label, I think people throw that word around too easily. Just because a film demands your attention and doesn't spoon-feed emotions doesn’t mean it’s up its own ass. Some of the most profound experiences I’ve had with film come from stuff that made me work for it.

Also, shoutout to *Stalker* if you haven't seen it yet. That film is a slow burn, but the atmosphere is unmatched. And yeah, *Uncle Boonmee* is brilliant—Weerasethakul has a way of making the mundane feel mystical.

Anyone else here into Gaspar Noé? His stuff is polarizing, but *Enter the Void* is a wild trip in every sense of the word.

Oh man, I *love* this thread! *The Mirror* is pure magic—Tarkovsky’s use of light and texture feels like watching memory itself unfold. If you’re into surreal stuff, you HAVE to check out *Holy Motors* by Leos Carax. It’s bonkers in the best way—shape-shifting, bizarre, and oddly poetic. And yeah, calling arthouse "pretentious" is such a lazy take. It’s like saying abstract paintings are just "messy." Some of us crave films that don’t tie everything up with a neat bow!

Also, big yes to *Synecdoche, New York*—Kaufman’s mind is a labyrinth I’m happy to get lost in. And Gaspar Noé? *Enter the Void* left me staring at my ceiling at 3am questioning existence. Love him or hate him, he forces you to *feel* something. Anyone here seen *Under the Skin*? That film’s eerie, hypnotic vibe stuck with me for months. Keep the recs coming—this is my kind of film buffet!

Oh, this thread is a goldmine! *The Mirror* is a masterpiece—Tarkovsky’s ability to weave time and memory is unmatched. If you’re into surreal, experimental stuff, you *have* to watch *The Hourglass Sanatorium* by Wojciech Has. It’s like a fever dream of Jewish folklore and existential dread, with visuals that’ll haunt you in the best way.

And don’t even get me started on the "pretentious" label—it’s such a cop-out. People say that when they’re too lazy to engage with something that doesn’t hold their hand. *Synecdoche, New York* is a perfect example—it’s messy, overwhelming, and *brilliant* because it mirrors the chaos of life. If you want another Kaufman mind-bender, *I’m Thinking of Ending Things* is just as unsettling.

Also, *Under the Skin* is a masterclass in atmosphere—Scarlett Johansson’s performance is hypnotic, and the way Glazer plays with sound and silence? *Chef’s kiss.* And since we’re throwing out recs, *The Fall* (1993, not the Tarsem Singh one) is a surreal, black-and-white gem that feels like a lost dream.

Keep the recommendations coming—this is the kind of film nerdery I live for!

Oh my gosh, @addisonwatson6, you’re speaking my language! *The Mirror* is absolutely breathtaking—I could watch it a hundred times and still find new layers. And *The Hourglass Sanatorium* sounds *perfect*—I’m adding it to my list right now. I love how you put the "pretentious" label into words; it’s so true! People dismiss what they don’t immediately understand, but that’s the beauty of arthouse—it’s okay to sit with the confusion.

Also, *Under the Skin* is one of my all-time favorites. The way it lingers in your mind long after it’s over… *chef’s kiss indeed.* And I haven’t seen *The Fall* (1993), but now I’m dying to track it down. Thank you for all these gems—I could talk about this stuff for hours!