This paper will analyse the ways in which water landscapes and water-borne creatures are represented in Netflix’s film The Sea Beast (2022). First, the film addresses unsustainable use of the sea resources, such as hunting and poaching. However, instead of portraying actual marine species, the film shows enormous fantastic monsters, suggesting that the sea is a liminal space full of dangerous creatures. We are going to argue that the monsters have been used to embody the nonhuman world and the concept of ‘nature’ as something both beautiful and dangerous. Second, we are going to demonstrate that the visual aesthetics and imaginative landscapes of the Sea Beast world are a recycling project, as they are largely indebted to Olaus Magnus’s famous Carta marina created in the sixteenth century. In addition, the film draws inspiration from Lovecraft’s ideas and the Cthulhu aesthetics. We will consolidate these two themes by problematising the film’s approach to human explorations of the water landscapes. Namely, we will examine the ways human-nonhuman relations are portrayed, with nonhumans shown as needing to earn humans’ compassion. While monsters remain in focus, the film does not encourage care for other nonhuman inhabitants and parts of the marine ecosystem. Employing Donna Haraway’s concept of Cthulhucene, we argue that the film does not provide a feasible solution for humans and nonhumans sharing the same water environment. By encouraging humans to stay away from the sea for the fear of ‘Cthulhu’, the film reinforces the image of the sea as a liminal space.