Spoiler alert for some of the following!
With a large audience at the Freud Museum London film researcher Mary Wild discussed Stanley Kubrick's last film with Professor of Film Studies Nathan Abrams. The event included how the film was made, psychoanalytic issues in items of the film, and the critical and public response to the film. One theme of the film is the relationship of fantasy to reality, and hence the meaningfulness, or lack of meaning, of dreams, as present in the final dialogue between Bill (Tom Cruise) and Alice (Nicole Kidman). From a dream research perspective, the discussion between Mary Wild and Nathan Abrans on why the object of Alice's fantasy was portrayed as a naval officer, rather than an air force officer, or army officer, or even a surfer, was fascinating; 'why was this element chosen?' is a common question regarding film and dream content. Another link to dreams was the author of the 1926 novella Traumnovella (Dream Story), the basis for the film. Arthur Schnitzler lived in Vienna, setting the story there, and was a contemporary of and praised by Freud. At the end of the discussions we were left with the messages that what was real and what fantasy in the film was not in all cases clear, that much of the plot hinged on Bill's inability to accept being told a fantasy by his wife, and that it is our choice which to accept of the two characterisations of dreams in the film.    

This is the first large-scale exhibition of surrealist Dorothea Tanning's work for 25 years, bringing together 100 works from her seven-decade career, from enigmatic paintings to uncanny sculptures. Included are striking uncanny buildings and interiors. The two girls peeling off the dingy wallpaper to reveal body parts underneath, in Children's Games (1942), and the two girls with a large sunflower in a shabby hotel corridor, in Eine Kleine Nachtmusik (1943). And doors, either closed or ajar and open to the imagination. There is a wonderful detailed essay (Dorothea Tanning: Behind the Door, Another Invisible Door) in the catalogue by curator and Cambridge University art historian Alyce Mahon, a specialist in surrealism. The essay describes Tanning being drawn to surrealism after seeing the Fantastic Art, Dada, Surrealism exhibition at New York's MoMA in 1936, and development then, with paintings, soft body-like sculptures, ballet stage design and costumes, and a very disturbing installation of a hotel room.  

https://www.tate.org.uk/whats-on/tate-modern/exhibition/dorothea-tanning

From a dreaming perspective, dream content often refers to houses, rooms, even discovering new rooms. See the disturbing Dilapidated House dream in the Gallery on this site, painted in response to a dream told to us at the Freud Museum London. The painting, including the full text of the dream, is the third artwork down on the November 2018 Freud Museum archive here.