This class is devoted to the study of a certain type of experimental movie, one whose primary storyline is duplicated by—and even displaced by—a secondary storyline, which leads the audience to question everything it has been told, or has just seen. Such second-level narratives can be thought of as “hypertexts,” that is, parallel narratives that exist in an ironic, deconstructive relationship to the entire film. Terms like “self-reflexive,” or “shape-shifting” are sometimes used to describe the structural convolutions of these films, but the basic assumption behind these reality-transforming movies is that we cannot—or should not—trust the cinematic storyteller to represent the ordinary world in linear, coherent, self-consistent ways. Films include Stranger than Fiction, Adaptation, The French Lieutenant’s Woman, Roman de Gare and Blind Chance.