Amnesiacs, apocalyptic romances, and arcane scriptures: all the reveries of cinema’s past and future collide at breakneck speed in the films of Guy Maddin, the silver screen’s most singular surrealist and slipperiest stylist. The Canadian cult director’s oeuvre feels beamed in from an alternate dimension where the talkies never went out of style, logic is secondary to literary flourishes, and Winnipeg is the heart of the universe. At turns oneiric and odious, mythical and mundane, Maddin’s films plumb the depths of film history in a scrapbook of early cinema, complete with grainy stock, black-and-white images, and swooning melodrama. Maddin’s ability to extract poignancy from pastiche underpins the two equally delirious mid-career entries in this series: "The Saddest Music in the World" and "My Winnipeg".