Movies Set Inside A Character's Head

As far as setting a film inside a character's head goes, Inception is the most overt. Criminals working in other people's dreams, the line between reality and imagination is crossed half-way through when the main heist starts. In terms of reality: the heart-pounding second half occurs entirely within the first class cabin of a passenger flight.

Kubrick's final - and most misunderstood - masterpiece presents itself as an unusual series of events happening to Tom Cruise's doctor character. However, from the moment Cruise meets a man who dropped out of medical school, it is open for debate as to what is happening and what is the doctor imagining what his life could have been.

Essentially THE Generation-X film, Fight Club throws its viewer head first into the mind of the main character (Edward Norton). Voice-over narration and talking to the camera are first steps in a long run down the rabbit hole; it isn't until the film's climax that it is revealed how deep inside Norton's mind the film has gone.

As the true story of a man who could only move one eye, the film takes the daring route of starting with his point of view. When Jean-Do becomes more accustomed to his limited life his imagination starts to run wild, and we are allowed to see inside his fantasies and memories.

It might be difficult to pinpoint the exact moment where reality disappears and the main character's imagination takes over, but the transition is the most important part of Gilliam's Director's Cut version of the film. All other editions are footnotes.

The only good video game movie (despite not being based on a video game) this is a full-frontal assault on classic filmmaking techniques. Every rule is broken to show you the world though the eyes of Scott Pilgrim as he goes on his quest to win the heart of Ramona.

When Martin Scorsese announced he'd make a Dennis Lehane thriller, the phrase "match made in heaven" never fit better. Lehane's powerful story, Scorsese's sure direction, and DiCaprio's award-worthy performance combine in this psychological tour-de-force.

The film is very grounded in the dramatic comedy reality of Chaplin's films, but its third act involves an extended dream sequence where the Tramp imagines he's died and been reuinited with his adopted son in heaven. This sequence leads the film into its beautiful conclusion.

There is really no ambiguity in Being John Malkovich; characters literally go inside his head and mess about. This twilight zone premise is really just a cover, however, for the tangled web of sex and love that developes among the lead characters.

This is a prime example of the Coen brothers's expertise in storytelling. The film starts as a traditional, classic Hollywood narrative; it turns into a minimalist narrative; and, in its firey climax, it becomes an anti-plot marvel.

Much like Inception, Eternal Sunshine doesn't hide its imaginary existence. As Jim Carrey and Kate Winslet leap through Carrey's mind to escape the machine erasing his memories, an unconventional and brilliant romance developes.

Few film characters are as likeable as Amelie, and her unique worldview is infectious. By the end of this romantic fantasy audiences can't help but be caught up in the optimism and beauty.

A showcase of Geoffrey Rush's talents as much as Peter Sellers's life, this film plays with the reality of its own set, having characters wander off the side of things while narrating to the camera.

The opening shot of Roxy's eyes reveals how imaginary the film is. Throughout, the musical numbers are balanced by the "real" scenes, and the solid impression is of an immature woman with a never-ending obsession with fame and showbusiness.

Unlike the more standard fantasy of the novel, the classic film presents Oz as a figment of Dorothy's imagination. From her head injury in the tornado until she wakes up in her bed in Kansas, the film shows you the technicolor world of Dorothy's mind.

Johnny Depp carries the movie almost entirely. John Turturro's appearance as the angry southerner also props up the film. If I had watched any trailers ahead of seeing the film I would have predicted the ending, but it still manages to be a solid Stephen King adaptation.

A bizarre fantasy until the moment when the hero, Kevin, wakes up in his room after the final battle to find the set pieces of the climax are actually toys around his room. Gilliam doesn't let the audience off with a simple "it was all a dream," however, and a final wink from Sean Connery leaves the conclusion up to the audience.

Partly the character's imagination, but mostly the writer's, this "third try's the charm" story is pulse-pounding perfection.

Perhaps inside the mind of a supporting character rather than the main character, this very unconventional romance is similar to Eternal Sunshine of the Spotless Mind in its mixture of fantasy and reality.

One of those films that depends entirely on the central performance, Tom Hardy is never boring in the title role, playing Britain's most violent inmate. Seeing the inner workings of a mind this unhinged can be disturbing, but the performance alone is enough to require viewing.

A philisophical film from the director of Eternal Sunshine of the Spotless Mind, this is not a movie for kids, but it is a movie about kids.

Early on it becomes clear that reality isn't all that it appears to be in Vanilla Sky. One of Tom Cruise's better performances, and good supporting roles for the rest of the cast, make this a solid remake from director Cameron Crowe.

The film slips into the mind of a drug-addled patient, and the story reflects the disjointed nature of its main character. Hardly hitting a single standard note, this is surreal art filmmaking in the flesh.