Introduction: Filmmaking as Romantic Quest; Part I. Romantic Clarity and Confusion; 1: Beauty Among the Ruins: The Painful Picturesque and Sentimental Sublime in Wes Anderson’s Aesthetics; 2: ‘An Endless Succession of Mirrors’: Irony, Ambiguity and the Crisis of Authenticity in Synecdoche, New York; Part II: Emotion, Imagination and the Feminine Sublime; 3: ‘Oh! You Pretty Things: The Egotistical and Feminine Sublimes in Sofia Coppola’s The Virgin Suicides; 4: Girlfriend in the Machine: Intersubjectivity and the Sublime Limits of Representation in Spike Jonze’s Her; Part III: Childhood, (R)evolution and Imaginary History; 5: ‘Because I’m a Wild Animal’ : Nature Versus Nurture in Fantastic Mr Fox; 6: ‘It’s Not Too Much, Is It?’ Keats, Fancy and the Ethics of Pleasurable Excess in Marie Antoinette; Conclusion: On Endings and New Beginnings; List of Works Cited; Index