All by Meg Sipos

Surreal Idol

Perfect Blue likes to jar audiences out of escapism and suspension of disbelief as a way to get us to think critically about the film as a film—as a story, a fantasy, a constructed narrative. When you engage with the film in this way, assuming the film itself knows it’s a film, the nature of the story changes. It becomes clear that the film’s “reality” has been invaded by a surreality brought on by fan obsession with the fantasy of a J-pop idol. That fantasy comes to literal life in the film, as a metaphor for the real-life dangers of immersion, suspended disbelief, and escapism in the arts.

Grotesque Comedy, Part 1: The Stepford Wives

Ira Levin’s novel, The Stepford Wives, adapted to film in 1975 and again in 2004, marries comedy with the grotesque. That satire gives the book and its underlying feminism their power. The films miss this point in opposite ways. The ‘75 version downplays the humor, ignoring the absurdity of the novel’s premise, and the ‘04 version plays everything for laughs, seeming to mock the novel’s feminism.