This article examines three films as they wrestle with the problem of madness through the construction of narrative: Grizzly Man (Director, Werner Herzog, 2005), Capturing the Friedmans (Director, Andrew Jarecki, 2003), and Tarnation (Director, Jonathan Caouette, 2003). There is progression in the narrative capacities depicted and enacted in each film: from the representation of a boundary with the unsymbolizable, through the failed figuration of sexuality, to the realization of a self-reflexive and thus transformational narrative. Working at the intersection of the personal and the social, the article postulates that films can serve as social containers for the elaboration of narratives that allow subjective cultural intelligibility. We are transformed through viewership. Specifically, the relatively new use of videography as a means of recording and shaping life experience creates novel forms of personal narrative that function as social containers. Narratives of personal madness are seen to constitute the true residence of sanity.