An industry that sells change, and calls it taste.
Scary Monsters… and Super Creeps is Bowie’s most controlled record: hard-edged, lyrically unsparing, sonically precise. It uses the Berlin Trilogy’s tools — fragmentation, repetition, synthetic texture — but abandons their distance. It lands because it refuses to cushion its blows.
William Klein’s 1966 French film is a satirical mockumentary following Polly Maggoo, an American model pursued by a television crew in Paris. Using fragmented editing, stylised photography, and deadpan performance, it dissects how media constructs identity through repetition, framing, and erasure — never resolving who Polly is, because the system it critiques has no use for her answer.
Jackie (2016) follows Jacqueline Kennedy in the week after John F. Kennedy’s assassination, framed by a Life magazine interview at Hyannis Port. Directed by Pablo Larraín and starring Natalie Portman, it focuses on her psychological navigation of grief, legacy, and public performance — not as a biographical survey, but as a study in containment. Stéphane Fontaine’s cinematography, Mica Levi’s score, and Sebastián Sepúlveda’s editing sustain a tense, intimate atmosphere. The film received three Academy Award nominations, including Best Actress for Portman.
Sofia Coppola’s 2006 Marie Antoinette reimagines the queen’s early life as a study in isolation and performance, using Kirsten Dunst’s restrained presence, Milena Canonero’s Oscar-winning costumes, and a daring anachronistic soundtrack to evoke emotional rather than historical truth. Shot with deliberate softness and edited for rhythm over exposition, it omits political context to focus on interiority — making Versailles feel less like a palace and more like a gilded institution for girls.
Set in 1950s London, Phantom Thread follows Reynolds Woodcock, a revered but rigid haute couture designer, and Alma Elson, the waitress he takes as muse and wife. Their relationship unfolds through quiet power shifts, two deliberate poisonings, and the slow, unstitching and restitching of domestic and creative boundaries. Directed, written, and shot by Paul Thomas Anderson, it stars Daniel Day-Lewis, Vicky Krieps, and Lesley Manville, with a score by Jonny Greenwood and Oscar-winning costume design.
Luc Besson’s 1997 science-fiction film is a French-produced, English-language spectacle built on maximalist design, constructed language, and daylight-driven futurism. Starring Bruce Willis, Milla Jovovich, and Gary Oldman, it follows a taxi driver and a resurrected super-being racing to save Earth using four mystical stones. Shot in London and Mauritania, it won BAFTA and César awards for visual effects, cinematography, direction, and production design. Though divisive in its emotional restraint and mythic opacity, it remains a landmark of tactile, stylised worldbuilding.
Guilty Gear Strive is a 2D fighting game developed by Arc System Works in Yokohama. It reconstructs the franchise, removes Instant Kill, introduces Wall Break, omits mechanical explanations from its tutorial, and launches without ranked mode.
A DS-native action RPG where combat, exploration and narrative all hinge on using both screens at once — scanning crowds, syncing attacks, and satisfying Reaper-imposed gates in Shibuya.
