Few experiences are as spine-chilling as confronting the unknown, which is why the genres of horror and science-fiction form a perfect, albeit terrifying, union. This blend of storytelling tropes has been haunting audiences for decades, providing fertile ground for both terror and creativity. By venturing into realms that defy reality, filmmakers unlock a treasure trove of surreal and abstract narrative tools.

Numerous films tiptoe along the boundaries of horror and sci-fi, borrowing elements from each as needed. However, a select few masterfully balance both genres, using their surreal nature to craft stories that simultaneously reflect and critique reality. Films like “Possessor” and “Under the Skin” exemplify this blend, creating narratives that are as unsettling as they are thought-provoking.

“Dark City” (1998), directed by Alex Proyas, is a prime example. The film begins with a man (Rufus Sewell) waking up in a bathtub in an unknown hotel with no memory of how he got there. Soon, a frantic phone call urges him to flee immediately. As he surveys the room, he discovers a woman’s dead body and a murder weapon. Escaping just before mysterious, pale men in trench coats arrive, he sets out to uncover his identity and understand the bizarre events unfolding around him. Proyas, known for defining an entire generation’s aesthetic with “The Crow,” continues to weave dark, grungy visuals into “Dark City,” immersing viewers in a monochromatic sci-fi world that feels eerily one step behind the protagonist.

“Hellraiser” (1987), directed by Clive Barker, tells the story of Frank Cotton (Sean Chapman), who buys a mysterious puzzle box promising unparalleled pleasure. Upon solving it, Frank is dragged into an alternate realm by shadowy figures known as Cenobites. Later, his brother Larry (Andrew Robinson) and sister-in-law Julia (Claire Higgins) move into Frank’s house, where Julia finds a monstrous version of Frank in the attic. She agrees to help him restore his body. Barker’s adaptation of his horror novella has led to an 11-film universe, including a 2022 reboot. While the original isn’t explicitly sci-fi, the Cenobites’ interdimensional ambiguity blurs the line between sci-fi and supernatural horror.

“The Cell” (2000), directed by Tarsem Singh, follows psychologist Catherine Deane (Jennifer Lopez) as she uses an experimental virtual reality tool to enter the comatose mind of serial killer Carl Stargher (Vincent D’Onofrio) to locate his last victim. Singh’s visual style is strikingly unique, as seen in his 2006 film “The Fall.” “The Cell” combines high-concept plot elements with an eccentric visualization of the human psyche, creating a bold and surreal cinematic experience.

“Under the Skin” (2013), directed by Jonathan Glazer, features an alien entity (Scarlett Johansson) inhabiting a young woman’s body, luring men into her van and consuming them. This experimental sci-fi film employs unconventional methods, such as using non-actors and hidden cameras for much of its dialogue. The result is a raw, surreal viewing experience that challenges and rewards audiences.

“Sphere” (1998), directed by Barry Levinson, involves a team investigating an alien vessel on the Pacific Ocean floor. Experts like psychiatrist Dr. Norman Goodman (Dustin Hoffman) and marine biologist Dr. Beth Halperin (Sharon Stone) live in an underwater habitat while conducting research. Based on Michael Crichton’s book, “Sphere” explores the idea that discovering alien life may harm the mind more than the body. The film’s depiction of Earth’s ocean depths as alien territory enhances its eerie atmosphere.

“Jacob’s Ladder” (1990), directed by Adrian Lyne, centers on Jacob Singer (Tom Robbins), a Vietnam War veteran plagued by traumatic visions and hallucinations stemming from his war experiences and personal losses. The film’s fragmented timelines and blurring of reality and hallucination create a disorienting experience that mirrors Jacob’s mental state, making it a powerful exploration of PTSD.

“Event Horizon” (1997), directed by Paul W.S. Anderson, follows a rescue mission to investigate the distress signal from the Event Horizon spaceship, which vanished seven years earlier. The crew discovers sinister forces at play as they delve into the ship’s mysterious past. Often described as “Hellraiser in space,” the film blends hard sci-fi with supernatural horror, presenting a grim alternate dimension that remains ahead of its time.

“Suspiria” (1977), directed by Dario Argento, tells the story of Suzy (Jessica Harper), an American ballerina attending a prestigious German dance school plagued by sinister events. While primarily a horror film, “Suspiria’s” hyper-stylized vision creates a surreal experience akin to sci-fi. Argento’s masterful use of visual and narrative elements immerses audiences in Suzy’s terrifying world.

“Videodrome” (1983), directed by David Cronenberg, features Max Renn (James Woods), president of a TV station obsessed with sensationalist content. He becomes captivated by Videodrome, a broadcast depicting extreme violence and snuff films. As Max delves deeper, he experiences hallucinations that blur his grip on reality. The film critiques the cultural impacts of artistic freedom and boundary-pushing during the ’80s.

“Possessor” (2020), directed by Brandon Cronenberg, is set in an alternate 2008 where corporate assassinations are carried out through brain implants that control others’ minds. Tasya Vos (Andrea Riseborough) inhabits bodies to commit murders without leaving her facility. The film explores societal detachment when extreme emotions are outsourced, presenting a surreal yet eerily realistic cautionary tale.

In conclusion, these films showcase the unique blend of horror and science-fiction, using surrealism to craft narratives that challenge our perceptions of reality and society.