Post-credit scenes: results for “tag: lights”

Poster for National Lampoon's Christmas Vacation (1989). No votes yet on whether it has a post-credit scene.

It's Christmastime, and the Griswolds are preparing for a family seasonal celebration. But things never run smoothly for Clark, his wife Ellen, and their two kids. Clark's continual bad luck is worsened by his obnoxious family guests, but he manages to keep going, knowing that his Christmas bonus is due soon.

Cover image for No is E (2006), not yet voted on.

With the aid of a layered construction of the image, Takashi has managed to capture the different reflections of light on the surface of water. The acoustic-noise-like music and the dancing particles of light move like swarms of microorganisms and in this way slowly cover the entire screen.

Key art for Low Lights (2009), unanswered on the post-credit question.

A road movie, buddy picture and romance rolled into one, Low Lights pivots on a love triangle that evolves when two men and a woman take to ritual night driving. Transforming cold urban space into something charged with excitement, the drives provide the hope the trio so desperately needs.

Nuisance (2025) cover. Nothing recorded about its credits.

Screams of a previous discussion echo in a silent room while two women try avoid demonstrating their real and visceral emotions.

Film artwork for Nocturne (1980), no verdict on the credits.

Nocturne evokes one of the most magnificent films of Brakhage: Fire of Waters. It takes place in a suburb populated by children playing and indistinct parental figures. The narrative plot might suggest that it was a boy's night-time plays; The flashes of a torch in a dark room evoke fights and aerial bombardments. An impression of hostility and a feeling of horror interferes in all the movements ... The fantasy is tinged with nightmare, a storm of repressed emotions hides behind the calm facade of this house. In Nocturne, found footage blends so well with the threat that its perception produces a discharge from the unconscious.

Film poster, going away. No post-credit verdict yet.

Gabriel decides to go back to his home town. In the way, he meets "El Signo del Caos".

There's Something Beyond The Hill (2026): nobody has checked the credits yet.

At a party, a girl tells a group of people an old tale about a boy who encounters a mysterious man carrying a lantern and a picnic basket on a rural road at night—an encounter that precedes strange events and a terrifying meeting.

Poster for Glimpses of the Outskirts (2025). Never been answered.

In an alternate reality where the decline of nations has given rise to corporatist regimes, any trace of culture or tradition is suppressed by these new leaders to prevent the masses from reclaiming a national identity. However, rebel cells have emerged to counteract this agenda.

Film poster, Carver (2027). No post-credit verdict yet.

A hangout between two brothers experiences unexplainable and intrusive interruptions.

Movie art for Nightfall (1971), post-credit scene unknown.

Shot in his garage-studio, the camera records Ader painstakingly hoisting a large brick over his shoulder. His figure is harshly lit by two tangles of light bulbs. He drops the brick, crushing one strand of lights. He again lifts the brick, allowing tension to accrue. The climax inevitable—the brick falls and crushes the second set of lights. Here the film abruptly ends, all illumination extinguished.

Poster for Les Noctambules (2023), blank on post-credit scenes.

Two strangers, with totally different personas, but also very same, will join the same party, for different reasons. During the night, the two of them will make some important decisions, fight with their inner demons, and make realizations that will change them.

Cover image for Momentum: a video series in four movements, not yet voted on.

In this series of experimental videos, a new interpretation of space and time is created by manipulating images and sounds of urban and rural environments. Through the abstraction of reality, the artist uses the medium of video to offer an alternative perspective of our surroundings. The result is four separate experiences that are both meditative and surreal.

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