Dalí in Film: From Sketch to Screen
The 2020 Fashion Design at The Dalí program took place virtually. The theme was Dalí in Film: From Sketch to Screen. Inspired by Dalí’s film projects, budding high school designers (9th -12th grade) from the Tampa Bay area created tangible connections between, art, film, and fashion.
From Hitchcock to Disney, silent films to animation, Dalí created iconic visuals that are both surreal and whimsical. Using non-traditional materials, students were invited to think creatively to produce wearable works of art that translate from sketch to screen. These designs were inspired by the costumes, motifs and scenes seen in three major Dalí film projects. A final fashion film project will showcase these new fashions. Selected designs will win prizes in six categories and be honored in a display at Neiman Marcus located in Tampa’s International Plaza.
Amelie McLeod
Hillsborough High School
Grade: 11
The idea of my piece is the blockage between dreams and memories and how they can sometimes merge to become one. My costume is a suit jacket vest and pant combo. The outfit takes 1940s work wear with a modern twist instead of using the inspiration from work wear for women I’m instead using menswear. The suit jacket will be made of vinyl and actually clear so that I can put on a bunch of film pieces that will reflect the light that shines through showing the pictures. It will also be rather bulky due to the vinyl being rather stiff but also portraying the idea of masculinity. The vest is wear the idea of femininity comes through though. Although I have based the design on menswear I don’t plan to put a shirt underneath as normal and the neckline will be rather long and accentuate the bust portraying a rather sexy daring look making it more modern and fitting for today’s standard but not taking away from the incredible tailoring from the 40s.. I wanted the straight lines of the suit to match her serious and forward personality especially in the beginning but the vest to show her rather emotional sides with the more fitted and curved expressive lines. The patterns though are more attached to the role she plays as a psychoanalyst in the film. The vest which is the first part of clothing she puts on is an abstract surreal pattern tying into the dreams she must try to comprehend. The straight red pants tie into the bloody and murderous case she must uncover and the suit that goes over top is blocked by the vest and has the film pieces to represent the memories that she must discover in order to understand what is happening. The red color of the vest and jacket also relates to the blood and murder in the film that happens. I wanted a rather limited color scheme to especially eventuate the redness of the fabric.
Annie Miller
Gibbs High School
Grade: 11
I’ll admit that I was not thrilled when I learned that the theme of this year’s show was Dalínean films. This perspective was drastically altered when I was sent the films that I was to choose from. My first thought was “how am I to choose?” I trusted my decision with my instructors for this program and was given Un Chien Andalou, which could not have been more perfect. This film is so unique in many ways, but what excited me the most was the possibility of so many elements coming together to form one design. The first element that immediately stood out to me was, of course, the famous eye-cutting scene. I decided to do some research and find the inspiration for this scene. I found on a review site that Dalí had a dream that the moon was slicing a cloud (also seen in the film) and this caused a lightbulb to go off. I reflected this element by having this sliced cloud be the first thing to draw the eye. Directly under that, there is a gaping black hole. Dalí’s work is filled with elements of decay, and so I added my own version of an element of decay. My final elements work a bit together, but are also opposites. There are quite a few sexual references in my film. Instead of focusing on the shocking nature of these elements, I decided I wanted to show the oppression behind them. I have a large piece of fabric and many bands of black cotton trailing on the ground, as if they are heavy. Hopefully, this will portray how sexualization, when uncalled for, truly captures people and makes them feel as if they are unable to move. Overall, I wish for my garment to portray the lack of sense that people felt when watching this film, but also the symbolism that each piece of Un Chien Andalou represents.
Briana Davidson
Grade: 9
Jefferson High School
The film I chose was Un Chien Andalou and the scene I chose was when the girl is being touched.I’m designing an outfit I think she would wear today in 2020.The material I want to use for the dress is sheer because it’s see through. I think its perfect because the clothes basically aren’t there in the man’s mind. Under the sheer dress will be a beige bodysuit to represent her skin. The bodysuit is beige because that’s probably the character’s skin tone. The sheer dress will have a blue and white pattern because they’re nice welcoming colors just like the character. I also want to accessories with a black faux fur hat inspired by another scene in the film.
Brielle Hernandez
Grade: 12
Home School
My design is inspired by Dalí’s dream sequence in Hitchcock’s movie Spellbound. Of the three films presented to us, this one was by far the most inspiring to me. I loved the eerie affect it had on me. The feeling of mystery but also wonder as I often have in my own dreams. I immediately gravitated toward the eyes on the curtains and how I get that feeling of imagination. I tried to implement this feature on my garment with having the eyes around top and around the bottom of it. I also tried to capture the element of beauty in dreams. I did this by making my garment flow and shine by adding sequins to show such delicate beauty. I also felt that it was essential to show the abstract nature of dreams. This was done by using nontraditional materials throughout my garment like broken CDs,bottle caps, balloons and recycled curtains. Throughout my design I tried to capture the essence of dreams, their beauty, mystery and pure imaginative freedom.
Connor Totten
Grade: 10
Gibbs High School – PCCA
Un Chien Andalou by Luis Buneul and Salvador Dalí was the main inspiration for
my piece. The film was inspired by dreams and that is exactly how the film looks and feels. The film has no central plot but has small scenes that fade into one another like a dream. The film carries many heavy emotions such as fear, sadness, and even happiness and relief. I was very touched by the emotion you can see being portrayed through the actors and the film itself. I wanted to incorporate the idea of dreams into my design which is why I looked back on Dalí’s work from around the time the film was released. The film was released in 1929 and around that time, the surrealist movement was in full throttle with rising artists such as Renee Magritte, Max Ernst, Marcel Duchamp, and Salvador Dalí. During this time Surrealism was heavily inspired by dreams and in many of Dalí’s work, there are lots of fluid realistic shapes to represent that which I found mesmerizing. In my design I used organic shapes and lines to show off the body to resemble that dreamy look. I chose a more monochromatic color palette with the main pieces being in black and grays and featuring hints of light blue and pink. The black in the piece is supposed to represent Heavy emotions effecting your dreams. This is also shown through the large black structure seated across the models shoulders and head.This theme of getting lost in your emotions is also shown through the constraining bustier and tight organza and plastic
wrapped skirt. The model looks lost, and lifeless, this explains the constraining silhouette and the head mask that leaves the model unidentifiable. On top of the models head sits two donkey heads. This is a reference to the scene in the film where there are two dead donkeys on a piano. This reference is representative of Dalí being name called in college because of his ethnic background and the emotional trauma that caused. For my piece I decided not to design for a
character from the film and create my own character. This woman is supposed to be a dreamy figure that happens to be ageless and no identity. She is an ethereal being that only exists in dreams. She takes on a haunting role and her purpose is to takeover the dreamers emotions.
Dana Smith
Grade: 11
Palm Harbor University
The Film Un Chien Andalou is structured quite oddly, almost like a dream. The actions and settings present in the short film proceed without any rhyme or reason. I highlighted this aspect of the movie in the structure of my dress with the by juxtaposing the proper formal blazer with the Flowey tulle underskirt. This works to represent the contrast between the serious nightmarish elements of Un Chien Andalou with the dream like at times optimistic parts of the movie. More so to represent one of the opening scenes of the eyeball getting cut open I decided to place a veil over one of the model’s eyes in my design. Lastly, I really wanted to make my design more interesting with extra details. There is a recuring motif of insects and ants in this movie which inspired my idea to have small insect charms crawling up the back of the dress.
Eden Mateo
Grade: 11
Gibbs High School – PCCA
The central concept for the Dream Sequence in Spellbound is the elusiveness of dreams, and humans innate desire to study the unknown. I chose to illustrate this concept by taking inspiration from images and characters in the dream sequence, specifically the masked man, the woman, and the eyes on the wall. I also drew inspiration from Renaissance fashion because I felt like this revival period of arts and knowledge matched the desire to expand knowledge of dreams through psychoanalysis in Spellbound. I am not designing for a specific character in this film, rather, the film itself. My piece will mostly be in black, white, grey and neutral tones because the film was made in black and white, and the imagery of dreams immediately brought pink neutral tones to my mind. I wanted the silhouette of my design be flowy and unrestrained, as a nod to the nature of dreams, and I alluded to Renaissance fashion by creating large statement sleeves, a corset, and a long, heavy skirt. Upon research, I discovered that the masked man in Spellbound and a few of Dalí’s paintings was a representation of his mother, who committed suicide by drowning herself, and was found with her nightgown wrapped around her head. I slightly twisted this concept by adding a veil as the twisted nightgown, underneath a sharp glass crown, which is a representation of the painful emotions Dalí must have been feeling at the time. The woman seen in the dream is also represented through the pink tulle in the skirt and on the corset, as a reinterpretation of what she was wearing in the dream, and because of how flirtatious she seemed to be. I also felt it was important to include the eye motif from the film and many other Dalí works, so I chose to design a chain belt with large eye pendants hanging from it, to tie it all together. As for materials, much of the fabric will be thrifted, or repurposed from what I already own, or bought from a fabric store as a last resort. The crown is made of shattered glass and silver wire, and the eye belt is silver chain, painted clay, and resin. My design includes some hand beading as well, to add a level of intricacy and delicateness, again, to represent the nature of dreams.
Elijah Ulrich
Grade: 12
Largo High School
Before I begin to explain my outfit rendering, I would like to mention that the way I work is not centered on a plan, ever; when I work on clothing I clear my path as I follow it. Now, with that being said I need to explain my rendering and the inspiration behind it as my drawing skills do not give my idea justice. I want to make an outfit centered around a type of garment which I have never seen before; a floral print denim kimono varsity cargo jacket. Under this jacket I will create a blank white t-shirt (this will likely change), for the pants I want to create a pair of double-knee denim jeans, and for the shoes some black combat boots. As my film was Un Chien Andalou (1960) I wanted to make an outfit inspired by the 1960s, but not representative of the 1960s one would see in Un Chien Andalou. What immediately comes to my mind when I think of the 60s is a greaser or a jock, both sporting blue denim jeans, a white t-shirt, and a leather or varsity jacket. I decided to take the idea of this outfit and basically just change it to be something I would enjoy more, so I widened the pants and added a carpenter-style double-knee, turned the jocks varsity jacket into a cargo kimono varsity jacket with a floral print also inspired by the 1960s, and threw some Doc Martens on the feet. For the t-shirt hopefully I can do a print on it with something representing the 1960s, but for now it will remain a regular plain white tee like the greasers wore. Either way, the tee should be seen as a layering piece for the jacket to be displayed on, like a pedestal.
Emma Beatty
Grade: 11
Palm Harbor University
To me, Dalí’s intent with Un Chien Andelou was for the woman in the film to break free
from the chains of a toxic relationship. Un Chien Andelou tells a story of letting go; saying goodbye and moving on, although bittersweet. For my design, I focused on the symbolism related to Simone Mareuil’s character, the woman in the film. I gave her an elegant, early-1930s silhouette, to seem as though the woman in the film had progressed past the chronological boundaries of the film, and past the dangerous relationship with the man in the film.
Stripes are shown throughout Un Chien Andelou to connect the scenes, that otherwise have no apparent order. Similarly, the stripes hold together my design. I purposely lifted the waist to give the dress a more feminine outline. The crocheted and faux fur undershirt resembles the ropes that the man used to drag the donkeys towards the woman. The pink tones of the dress tie into the femininity of the entire design. Moreover, the design features a large ant on the ring finger of the woman, to represent Dalí’s motif of death and decay, as well as the decay of the relationship between the man and woman in the film. Finally, the design features round, pink sunglasses. This implies that she wears “rose-tinted shades”, as many women do when staying in an abusive relationship. One eye of the glasses is slit, as an homage to Dalí and Buñuel’s bold opening scene in Un Chien Andelou.
Eva Cotter
Grade: 11
H.B Plant High School
Isabella Ancheta
Grade:10
Wharton High School
As mentioned before, I want to design my character and costume in this way to emphasize how dream-like our destinies can be. In Destino, the ballerina wears a white dress with a ball gown silhouette, effortlessly dancing and moving around. I am pulling inspiration from wedding gowns of the modern era, simply for vanity purposes and to match how the ballerina dresses throughout the film. What I hope this costume reveals about my character is a free state of mind; not knowing all the answers but acknowledging that it’s okay to not always understand; living in the moment and following wherever life takes you. My character should not express a particular social class or age as the film itself does not define these traits of the character.
The central concept of the film Destino by Dali is believing in fate and destiny of who you are meant to become, and who you are meant to be with. This is predominantly shown in the form of love and with the idea of knowing who you are destined to love. For my character, I want to create the idea of a dream by incorporating light and airy materials to help with the illusion. I want to bring forward the concept of seeing your destiny in a dream; destiny seeming hazy and almost confusing at times. For the skirt of my dress, I plan to dip-dye white/cream colored organza in the prominent colors seen in Destino (blues, greens, yellows, reds). The skirt will be ankle length or longer. For the top of the dress, it will be more structured, contrasting with the softness of the lower half. It will be form fitting to the model, similar to a bustier. The sleeves will not be connected to the top and will be a balloon sleeve from the shoulder to the wrist, made of the same organza as the skirt but not dyed.
Wedding and event gowns are what I particularly looked at when designing my costume. I chose to include a buster as a nod towards 40s corsets but with a modern twist (which is aided through the sleeves of my design). Through color, line, and movement I express my interpretation of the film by depicting what I would imagine the ballerina would wear if the film were to continue. The ballerina (character) has two different outfits, one that is sheer and shiny, and one that appears heavier and is more opaque. I combined the two to create a piece that incorporates both the sheer components of the first movement of the film, and the more opaque and strong aspects of the ballerina’s dress in the second movement. I am mostly using traditional materials such as organza, satin, elastic, buttons, ribbons, zippers, and hook and eyes, but I am incorporating some aspects of unconventional materials by using zip ties instead of boning for my bustier and using paint for some aspects of my costume. To construct, I will be using a sewing machine for the major and bigger parts of my costume and finish the garment by hand. Any small details will be done by hand to avoid mistakes.
Isabelle Campesi
Grade: 12
Central High School
The central concept of Spellbound is that people are not always who they seem. For my design, I chosen the character of Dr. Alexander Brulov and made him into Dr. Alexandra Brulov. While the original movie takes place in 1945, for my design, I flashed forward into 1975. My costume consists of a blue collared blouse with full length sleeves, a green vest with painted on eyes, brown khaki colored wide leg/palazzo pants, mahogany brown heeled loafers, and circular glasses. I chose to design my costume in this style because it resembled workwear clothing of the mid-1970s. Throughout the design process, I made plenty of changes. While the blouse, stayed the same, I changed the bottoms from a skirt to pants. The reason for this change was because I wanted to show my character in a more casual setting.
My character is placed at around 55 years old. While she is not so up to date with the current trends, she is still wearing clothing appropriate for the time period. I have her wearing a green vest eyes on it to resemble her almost being the comedic relief within this dramatic film. One of the main reasons why I have her wearing pants is because that since she has been in the field of psychiatry for so long, a profession that has been mainly dominated by men up to that point, she wears pants to establish herself within her job. The costume also reflects the time period by combining work cloths, to something more casual that could be worn around her house. I decided to go with more earth tones as it represents my characters level-headedness. I also have her wearing a blue blouse, as blue tends to represent a calm nature. I will be combining thrifted clothing items, unconventional materials, and traditional fabrics and sewing techniques into the construction of my design.
Kaela Piotti
Grade: 12
Gibbs High School
The film Un Chien Andalou inspired different aspects of my design. This film was in Dalí’s manner, quite peculiar. A common theme I noticed throughout the film was discomfort and inciting reactions. At the beginning it depicts grouping with an extremely uncomfortable scene (once again, in Dalí’s usual manner). I thought the morbidity of this scene was solid inspiration for my piece. As such, I included felt hands on the bust area to add visual discomfort and to reference the films themes of sexuality. The use of eyes throughout the film was a common trait. The mauling of eyes and macabre depictions of eyes was seen from beginning to end. I felt that with my design it would not be complete unless I had some depictions of eyes. To achieve this goal, I added a wire necklace of eyes. The finishing scenes prominently depict a beach with the “lovers” coming together on the sea terrain. I wanted to include this in my design because it contrasts entirely with many of the themes in the film. I included rocks around the waist and lining the bottom and added a sea-like skirt enclosed within this frame of rocks. In this film, there is a scene with a donkey tied to a piano. Strangely, I felt that the donkey and the piano had less significance than the rope tying them together. As such, I used this rope in synching the waist to convey the connections made across the film. The overall design of my piece conveys over-sexuality mixed with gruesomeness. I wanted the type of dress I was using to show how Dalí forces an over-sensual theme throughout the film, with a shorter, slip type dress.
Kailee Kurzawinski
Grade: 10
Gibbs High School
For my design I wanted to base what i created more on the story of the film rather than a singular character. The film shows two people wanting to be together but is held back by time and destiny. I interpreted that into my design by having two faces on the front that are held by the straps of time in which the famous melting clock is shown on the back. There are also restraints holding the arms of the wearer of the design. Lastly, I based the colors of the dress off the film as well, sticking to blues, a sandy color and white.
Kendall Swartz
Grade: 11
Gibbs High School
Simonne Mareuil is the main character in Un Chien Andalou. The film has no real sense of direction and is meant to confuse the audience. The film has two characters that seem to play multiple characters throughout. The purpose Dalí had when creating this film was to shock the audience. Whether that be with the slitting the main character’s eye, ants coming out of the hand, or dead donkeys being pulled on a piano.
An element used throughout the film is the use of lines. The constant use of lines throughout the film stands out. On the costumes, on the box, on the lampshade, etc. Since there is a theme of shock and confusion throughout the film I decided to include lines going every direction on the dress to create a not known sense of direction. I put them going different directions to have a little confusion on where to look. I then decided to pull the focus to the center of the dress and have a huge hole with ants coming out. Replicating in the film when the ant came out of the male’s hand. The whole aspect of the ants coming out of the hand is supposed to represent death and demise. So I will be using black throughout the dress including some of the stripes and the ants. Black is commonly associated with elegance and death. I decided on a 1930’s inspired dress to give a sense of elegance to her. Throughout the film, she stands strong even though what she is being put through a lot (sexual assault, confusion, and maybe even love in some sense), so this long tight 30’s style dress represents her elegance while still remaining strong. I also will be using red because in the film even though it is black and white I can picture Simonne with a red lip and the striped box to be red. Red can also be associated with shock, passion, and danger. Both the red and the black will combine to represent the theme throughout the film.
Kiersten Reaume
Grade: 10
Gibbs High School – PCCA
This film has a lot of different scenes. It carries a feel that is almost chaotic, being the goal of the film was for nothing to make sense. It has a lot of shock value scenes, catching you by surprise many times throughout the film. I chose this film because it gives me so many ideas that seem like they don’t make sense but could visually come together very nicely as a design. One of the main focuses I want my piece to have is a scene where ants crawl out of a man’s hands. I like the idea of my piece having a sort of creepy feel. I am also including some sort of black stripes on the bodice represent a striped purse seen throughout the film. At the beginning, a man cuts an eyeball with a blade, so I decided to include an eyeball hat with a knife going through it. I wanted my design to have very bold earrings, so I’m going to make long rope earrings with little men hanging off the end, to represent the two men being dragged by ropes in the film. Overall, I am going to give my piece an asymmetrical look, to give the viewer a bit of an uneasy feeling when looking at it. I decided to have my color scheme be warm tone black, white, and gray, possibly with red accents. The time period in the film seems to be the 1930s. My piece is mostly modern, but I am giving it a 1930’s feel by adding a calf-length underskirt and a round hat.
McKenny Sommer
Grade: 9
Indian Rocks Christian
For my fashion rendering I choose to do a mid length blue dress with abstract shapes within the dress. I decided on blue for a main color because when I think of dreams I always associate them with the color blue. Because for me blue is a color for sleeping and rest and I have always connected the two. For the abstract cutouts of shapes on the dress I did that because I wanted the dress to appear normal itself but have some sort of weirder aspect to the pattern. I did this also because in the dream sequence it showed various eyes ranging in sizes and shapes and I really wanted to incorporate that somehow into my dress. For hair chosen on the model I decided to stick with slightly gelled curls. It wasn’t the most popular hairstyles in the mid forties but I felt it fit the dress better than a super slicked back and more complex hair style. As for shoes I decided on a slightly boxy/chunky style because as well as the abstract pattern it’s a little bit stranger than just a standard stiletto.
Continuing, my plan for the creation of the dress and the use of materials is some sort of similar fabric to satin, silk, and or velvet. I chose those patterns because they are very elegant and as well as dreams are strange some can be very whimsical and have a sort of elegance. I also added a silky-ish scarf that my model is wearing in the rendering for show I though it added a little more movement to her overall outfit. As for the material for the cutouts if I decide on satin or silk I will be using velvet for the cutouts in the design. But if I do velvet for the dress than the cutouts will more than likely be satin. For the top of the dress it is included that the sleeves are a puff style to add a little bit more detail to the top of the dress so it balances out a little better when it gets to the bottom of the dress which has the movement of the dress.
Nico Farmer
Grade: 11
Tampa Preparatory School
All the individual pieces that make up my outfit represent different ideas, items and concepts shown in the video. For the head wear, I will be making a lace head-covering, the lace will have a beautiful pattern. This head covering is supposed to represent the dress that the woman is wearing in the video. The dress seems to be very thin and elegant. I imagine it to be a very intricate and thin dress, that is why I feel a white lace head covering would be a nice representation of the dress. For the shirt I will be constructing a distressed and “worn” long sleeve shirt. All the ends of the sleeves will have open hems and have fabric dangling down, the same goes for the neck and bottom of the shirt. This is supposed to represent the desert and area which the video seems to be set in. On the back of the shirt there will be a plush heart with chains sewn over it. The chains and heart are made from fabric. This a representation of the man and woman who seem to be in love but are unable to be together. Moving down to the pants, they will be denim jeans in a lighter wash with sun faded lines all across the denim. This is a representation of the stone figures thought out the video. On the button of the jeans there will be little black painted ants that are iconic to Dalí’s work. For the shoes I will be wearing black shoes.
Olivia Severance
Grade: 11
Osceola Fundamental High school
Film: Spellbound
We are seeing common styles of the year 1945 in the film, as well as more progressive fashion for women such as pants.
I chose to use classic style pieces with the ruffled circle skirt commonely seen in a little later time period and the juxtaposition of the suit vest top to play off her personality. I wanted her outfit to convey that she may be a women professional who needs to be taken serious but she is also fun and flirty and a girl outside of her manly job. This outfit I believe also is good for her age it makes her seem full of life while still showing her status.
My design I believe does semi reflect the period not as a whole but with all the components separately.
Some elements of design I worked with are, silhouette I wanted to show off the lean body but make sure it was not a focal point because she would not want that to be her distinguisher. I also worked with texture to contrast the light flowiness of the bottom of the garment to the harshness of the top.
Riley Duval
Grade: 11
Osceola Fundamental High school
Simona Tamulevicius
Grade: 10
Gibbs High School
The film that inspired me most was Un Chien Andalou. My central concept was focused on the first man’s built up anger. His urge to hurt and abuse the young girl, whom I assume is his daughter, was so strong that he would do everything in his power to do so. The young girl feels trapped in her own emotions because she cannot escape her father’s brutal acts of violence and pedophelia. I chose to design my costume in this style because of the strong symbolism this film held. My design features the color red which symbolizes courage in some cultures. The young girl shows courage for staying with her father instead of seeking help. My piece will include boning which gives her a sort of bondage look to represent the young girls pain. I will be ruching my fabric so it looks as though it is trapped and unable to escape through the hoop skirt to represent her being trapped within herself. I will mostly use traditional materials, however, I will attempt to incorporate untraditional materials into my design as well.
Skyler Parker
Grade: 10
Gibbs High School
For the film dream sequence: spellbound, I decided to create my own character. This character represents reoccurring dreams, reoccurring dreams happen when we have not yet acknowledged something important in our dreams that is directly correlated to our reality. My new character would be present in the patients every dream, she serves as a holder of missing clues. The eyes from the curtain all are looking at her signifying that she holds the answer. Clues such as the distorted wheel and blank playing cards will be incorporated into her dress.
The style of the dress is meant to be a fancy 1945 night on the town look, the woman is an eye striking figure within the dream. She notably looks upper class to fit into the casino setting seen in the dream sequence. The color pallet of the dress is inspired by the real life painting of the eye curtains, the rich jewel toned colors are a symbol of her elegance. As for construction of the dress I plan to mix fabric with unconventional materials, such as playing cards for a portion of the skirt. I plan on painting on the eyes seen in my rendering. Along with a few accessories for a finishing detail.
Sofia Pickford
Grade: 10
Alonso High School and Homeschool
William Zornek
Grade: 12
Winter Park High School
I chose to design for the character “The Proprietor” in Spellbound. For this design I decided to create a robe and head piece. The painted design on the robe and head piece is the inverted image of the wheel the proprietor holds in the film. I wanted my design to look almost ghostly with a surreal twist.