Expanding the focus from obsessive re-membering to the inability to re-collect, this chapter takes as its main topic wilful and involuntary forgetting. The tension between the two emphasises the threshold existence of the protagonists and suggests death as the only way to cope with the challenges and pains of memory in a gothic context. In the light of neurologist Oliver Sacks’s research on amnesia and music, and psychologist and cognitive neuroscientist Endel Tulving’s work on human memory, I analyse Juliette, or Key of Dreams (Carné, 1951), which depicts a strange realm—the Land of Oblivion—whose inhabitants have all lost their memory. The close connection between music, memory, and nation which emerges here in the figure of an amnesic accordionist, begins my investigation into musical instruments as memory-objects, which continues in the next chapter. The accordion, which the hand’s touch brings to life, appears in this film as the only medium of remembering and thus of counteracting an otherwise thoroughly exilic existence. Juliette, a quietly disquieting film, offers failure as a solution to postwar, postmodern disenchantment and disenfranchisement, deploying a gothic aesthetic to portray a self-reflexive, somewhat satirical, and utterly despondent outlook on ordinary life in contemporary societies.