This chapter argues that gothic films are the product of travels and cultural exchanges and offers an investigation of the types of mobility that characterise the agents of the filmic Gothic, mostly European émigrés, exiles, and professional travellers who created a distinct way of visually rewriting and externalising experiences of displacement and alienation on the screen. Alongside such names as Alfred Hitchcock, my investigation discusses the role of hitherto elided but significant figures, such as Robert Wiene and Victor Sjöström. The relevance of the travelling directors is further explored via their impact on the works of Hathaway, Cocteau, and Carné, among others. The chapter only just looks at the countries of production but considers the nationalities and cross-border travels of the filmmakers as well. In doing so, it creates a framework for a combined aesthetic and socio-political approach to the films—one which does not excavate beneath the surface for meaning or allegorises moments in the narratives as either symbolic of universal human anxieties or strictly national, time-bound preoccupations. In refusing to separate between style and substance, it proposes a close engagement with the surface as the aspect in which a collaborative authorial signature articulates the private experiences of displacement.