David Lynch's impossibly mundane and unspeakably grotesque Eraserhead turns a looking glass upon an entire constellation of avant-garde signifiers.
In Satoshi Kon's 1997 masterpiece, Perfect Blue, former J-Pop idol Mima Kirigoe's crisis of identity echoes our current 'epidemic' of loneliness -- upsetting the boundary between private and public agency, the desire to hide and the compulsion to be seen.
Boris Johnson admires the Mayor in Spielberg's Jaws. Remember him? He was the guy who wouldn't close the beaches -- and sacrifice that revenue source -- during a public crisis.
Mark Jenkin's haunting Bait exhibits a ghostliness that complements the film's transient landscape of seasonal capital and short-term holiday lets.
Josh Cooley's addition to the Toy Story universe is injected with something altogether more cosmic in scope than the previous films -- a comedic reverie of all things disintegratory.
There's an 'exorbitant' something that might be considered the implicit subject of Daughters' You Won't Get What You Want, in which it's never entirely clear if the threat is invasive, exerted from outside, or the confession of internal struggle.