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Premieres that never happened, from films that never existed. Or perhaps they did, but were lost forever.
Enter to discover the merchandise they might have had.
"THE TENTACLE!"
Your waste fed it for years but now it's not enough...
SHE RETURNS!
Secrets cannot be buried...
THREE OMENS
Misfortunes never come alone

No one knows what the creature looks like, but several people agree they have seen the same silhouette in the mid-afternoon. A long, flexible shape that appears to be a great tentacle emerging from the city’s sewers. Preceded by an intense splashing sound, it has recently begun to surface more often, carrying off small pets with it.
For years, you have been throwing all kinds of products down the drains: food scraps, cleaning products, used oils, preservatives, stabilizers, flavour enhancers, expired medicines… naively believing it would be harmless and disappear at the end of that long pipe, that it was no longer your responsibility and that someone else would take care of your negligence. And so they have... But not who you think. Something has taken charge of all your waste, and now you are about to discover it. But this time, it will no longer settle for leftovers...
Take a look at the merchandise it might have had:



At 23, Jack O’Reilly had it all figured out. He would start working young at the golf course, make good contacts and marry early, preferably some rich widow who frequented the club cocktail bar. Even better if she was attractive, if women that age could be, he thought. Margaret Mitchell seemed like the perfect candidate; a widow and the sole heir to Mitchell Appliances. Bored and weary after a marriage of almost 15 years. For a strong, handsome young man full of ambition, it was not going to be difficult to charm a forty-something widow trying to make the most of her last decent decade. Arrogant and ambitious like few others, he got to work.
Within three years, Jack had achieved the perfect life: a house with a garden and spectacular views on Mulholland Drive. Manager of Mitchell Appliances and an emerging figure among California’s young business elite. The only drawback was that Margaret was still alive and full of vitality. And, although mature, she still had plenty of life left in her. Marrying Jack, who was almost half her age, had stimulated her energy and her desire to live life to the fullest. She enjoyed parading her young trophy around every gala in the city. Something he hated, and was determined to remedy as soon as possible. Margaret was no longer merely unnecessary; she had become an obstacle. The only one left standing between him and the presidency of the largest appliance manufacturer in the country.
Jack, in his blind arrogance, never wondered how Margaret had managed to endure a 15-year marriage to Edward Henry Mitchell, a ruthless businessman also known, in discreet whispers, as “Hammer Mitchell.” Nor did it occur to him to ask about the circumstances of his death...
Take a look at the merchandise it might have had:



The first great bird, as dark as its own shadow, will mark the day of the pact. The second bird will signal the hour of the rupture. And wherever the third winged visitor comes to rest, there the lifeless body of the betrayed will fall. The three ravens will return together, days later, to point out the guilty one.
In the small town of Nothingville, life was quiet and peaceful; nothing of any importance ever happened. In fact, not even unimportant things happened. Nothing at all happened there. A circumstance that could be terribly boring, especially for the young, who killed time in the vacant lot by the sawmill or at the diner on the main road. But, when you thought about it, it also meant that nothing serious ever happened either. An argument the mayor liked to use whenever he was criticized for the lack of investment in the town’s cultural life. Nevertheless, that argument was unlikely to survive a second election.
He had to win again. They had been very easy, comfortable years for him: little work and a good salary. Being as practically useless as he was, it was a bargain hard to beat. He needed a new strategy; his popularity was not especially high, and he was willing to do anything.
He remembered that on the third day of every month, without interruption for the past three years, a dark wagon crossed the town, always passing straight through. On its side, one could read: “Fortune and Evil Eye.” That March 3rd, the mayor stood in front of it and stopped it with determination.
Take a look at the merchandise it might have had:


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About us
Lost Reels uses artificial intelligence as part of a hybrid creative workflow, alongside traditional art direction, illustration, 3D work, typography, digital composition and manual retouching. AI is treated as an exploration tool, not as a replacement for human authorship, selection or final creative control.
Lost Reels was born as a tribute to cinema, but in a very particular way, through films that never existed, that might have been made in another timeline, or that perhaps were lost forever in a gigantic fire or some forgotten archive.
We imagine an immense warehouse of vanished celluloid, uncatalogued metal cans, damaged reels, editing outtakes, one-of-a-kind copies, incomplete posters, VHS tapes with handwritten labels, and titles that sound familiar even though no one remembers ever having seen them.
A hidden archive of impossible classics, rescued not as films, but as the merchandise they never had: T-shirts, stickers, and small fragments of an alternative pop culture.
The project is inspired by the visual and emotional language of science fiction, horror, monster movies and B-movies, as well as comic books and twentieth-century video store culture. We are not trying to copy real films, but to pay tribute to a way of seeing: that blend of wonder, fear, mystery and promise found in old movie posters, worn-out covers and weekend double features, announced in impossible typefaces.
Lost Reels is a small project born out of affection for audiovisual storytelling, for cinema as ritual, and for the objects that surround it; tickets, posters, covers, magazines, stickers, tapes and memories. It is for those who queued for a premiere that would later become a classic, for those who left the cinema at night talking about monsters, spaceships and impossible endings. And also for those who discovered all of it later, infected by family stories and memory, rummaging through flea markets, comic book shops or the internet.
Each design works as a clue to something bigger, a lost film, a scene we will never see, an incomplete image of another reality that might have existed. Cult merchandise for imaginary classics.
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