Whether you are living the dream in Park City this week or tossing barbs at the festival via the alt-fest known as Slamdance, the Sundance Film Festival is probably taking up a lot of your brain space these days. We all know about the raucous parties where "an Alice in Wonderland look-alike performing a simulated sex act on a man in a rabbit costume," but there's a lot of worthy films that screened at the festival that didn't receive half as much attention as the events.

Which is why we've compiled the most visually stunning films from this year's festival for your viewing pleasure. From a sci-fi musical chronicling cinematic tweets to a cannibal horror film, the only thing these cinematic gems have in common is their remarkable visual aesthetic. We hereby present the 10 artsiest films to grace the screens at Sundance; let us know your favorites in the comments section below.

(For those of you interested in experimental "transmedia experiences," you can check out the last day of New Frontier on Saturday.)

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• "Upstream Color"

  The puzzling thriller by "Primer" director Shane Carruth was far more than an unfolding story. <a href="http://www.avclub.com/articles/day-five-at-sundance-is-all-about-the-perplexing-o,91442/'">Sam Adams of the A.V. club confirmed</a>: "Having the movie wash over me was one of the most transcendent experiences of my moviegoing life. With piercing bright orchids, trippy visuals and an abundance of cute pigs this time travel film was one of the most talked-about of the festival. (<a href="http://www.guardian.co.uk/film/2013/jan/23/sundance-festival-upstream-color-first-look-review">Also, perhaps, because a lot of people seemed not to know what was going on</a>.)

• "Stoker"

  We don't know if a trailer has ever made us gasp before. South Korean director Chan-wook Park, the mind behind "Old Boy," chose Mia Wasikowska and Nicole Kidman to star in his <a href="http://www.foxsearchlight.com/stoker/">his first English language film</a>. The aesthetically alluring gore, thrashing music and an oddly horrific pencil show how an artistic eye can really give us the chills.

• "Skinningrove"

  A 15 minute short film packed with moments of melancholic beauty, "<a href="http://filmguide.sundance.org/film/13163/skinningrove">Skinningrove</a>" explores photographer Chris Killip's black-and-white memories of his time spent in an isolated English fishing village on the North Sea. The short, directed by Michael Almereyda, seamlessly weaves together existing works of art to build another.

• "30% (Women and Politics in Sierra Leone)"

  Anna Cady directs this <a href="http://filmguide.sundance.org/film/13143/30_women_and_politics_in_sierra_leone">visually breathtaking film</a>, at once a documentary and a moving oil painting. The piece follows three women fighting for fair representation in the heavily corrupted Sierra Leone. Between Cady's honey-smooth animation and her documentary subjects' drop dead outfits, you probably don't want to blink much during this one.

• "#PostModem"

  From the minds of Jillian Mayer and Lucas Leyva, the filmmakers who made "<a href="http://vimeo.com/30804741">Life and Freaky Times of Uncle Luke</a>," comes the bizarro tale of two Miami girls dealing with technological singularity. The film lets all the beauty and grotesque excess of the internet wash over you. Did we mention it's a sci-fi musical as told through tweets?

• "We Are What We Are"

  We wouldn't expect to be blown away by the beauty of a film centered on cannibalism. But Jim Mickles' "We Are What We Are," a remake of the Mexican horror film of the same name, is as visually devastating as it is terrifying. <a href="http://www.indiewire.com/article/sundance-review-jim-mickles-slow-burn-we-are-what-we-are-remake-is-quiet-gross-and-better-than-the-original">As IndieWire put it</a>, "Ryan Samul's dark blue and black palettes take the movie out of its contemporary setting and suggest an ancient dance between the last vestiges of barbarity and the onset of civilized behavior."

• "Escape From Tomorrow"

  The buzzy film by Randy Moore was described as a "surrealist treat that will give Disney's lawyers nightmares" by <a href="http://www.hitfix.com/motion-captured/review-escape-from-tomorrow-is-a-surrealist-treat-that-will-give-disneys-lawyers-nightmares#lBDSH6vMCmVJlWIg.99">Drew McWeeny</a> at HitFix. The black-and-white film tells the story of a suburban father's descent into madness during a family trip to Disneyland, <a href="http://www.slate.com/blogs/browbeat/2013/01/23/escape_from_tomorrow_filmed_secretly_at_disney_parks_can_disney_block_the.html">all reportedly filmed without the park's permission</a>. Where Disney meets David Lynch... that's where we want to be.

• "Charlie Victor Romeo"

  Based on an award winning theatrical documentary, "<a href="http://charlievictorromeo.com/">Charlie Victor Romeo</a>" is made entirely from Black Box transcripts of real airline emergencies. In its adaptation to the screen, Robert Berger and Karlyn Michelson employed stereoscopic 3D technology. It is supposed to be terrifying. <a href="http://www.hollywoodreporter.com/review/charlie-victor-romeo-sundance-film-414218">The Hollywood Reporter's John DeFore explained</a>: "Their dialogue, in which words like "speed" are repeated endlessly for reasons we don't understand, becomes a kind of terrifying, avant-garde found poetry."

• "Boneshakers"

  This 13 minute short by Ghanaian filmmaker Frances Bodomo tells the story of an African family seeking a cure for their daughter's illness in a Louisiana Church. The gripping film stars "Beast of the Southern Wild" breakout actress Quvenzhané Wallis as well as a dream-washed palette that puts all Instagram filters to shame.

• "The Event"

  Directed by Julia Pott, "The Event" describes itself as "Love and a severed foot at the end of the world." Its mix of cartoonish innocence and artistic melancholy make for a perfectly weird, unnerving and eventually heartwarming short. You can watch the entire 3:23 little guy here.

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