1) Perfect Blue (Dir. Satoshi Kon)
what makes
perfect blue so chilling is the way it plays upon the nature of its medium, just like
vertigo all those years ago. anime is traditionally an intrinsically childlike mode of storytelling, and the same can be said for pop music;
perfect blue presents both at their most idealised, innocent and naive, only to brutally, perversely corrupt them, or perhaps expose them as the facades they are, fragile fantasies designed to sugarcoat our deepest insecurities, fears and perversions until one mistake, or perhaps just the passage of time, causes the bubble to burst and all of them to pour out. like
mulholland drive, this film is so disturbing because although most of us aren't so deluded as to hallucinate a fantasy world, all of us tell ourselves stories to suppress the undesirable parts of our existence and ourselves, whether it's our envy, our guilt over our more bestial and immoral impulses, our physical insecurities, our fears of death and decay and aging, our failures in life, and more. and we derive these stories from the arts, even the most basic pleasure of escapism is derived from a dissatisfaction with reality and the desire for something simpler, so to experience a movie that presents itself as a perfect projection of that desire only to begin unravelling before our eyes, fragmenting and crumbling and allowing all these dark thoughts and fears to mix in with its idealised movie-ness, the last place they're welcome, is an affront to the psyche. that sweet, fun pop song plays again, except now it makes you think of a repulsive stalker jerking off in his room, of death and degeneracy, your failing career, the pounds and years you've put on, and it's taunting and mocking you with its knowingly unattainable innocence and happiness.