Never just one to choose a single tone or milieu, Jarmusch followed his 1995 acid western “Useless Person” with this modestly budgeted but equally ambitious film about a dead man of the different kind; as tends to happen with contract killers — such as the a person Alain Delon played in Jean-Pierre Melville’s instructive “Le Samouraï” — poor Ghost Doggy soon finds himself being targeted by the same Males who keep his services. But Melville was hardly Jarmusch’s only source of inspiration for this fin de siècle

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Yang’s typically fixed yet unfussy gaze watches the events unfold across the backdrop of 1950s and early-‘60s Taipei, a time of encroaching democratic reform when Taiwan still remained under martial regulation and also the shadow of Chinese Communism looms over all. The currents of Si’r’s soul — sullied by gang life but also stirred by a romance with Ming, the girlfriend of 1 of its useless leaders — feel nationwide in scale.

Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained on the social order of racially segregated nineteen fifties Connecticut in “Far from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.” 

Hopkins’ Hannibal Lecter is one of the great villains in film history, pairing his heinous functions with just the right number of warm-nonetheless-slightly-off charm as he lulls Jodie Foster into a cat-and-mouse game for that ages. The film needed to walk an extremely delicate line to humanize the character without ever falling into the traps of idealization or caricature, but Hopkins, Foster, and Demme were ready to do exactly that.

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But Kon is clearly less interested from the (gruesome) slasher angle than in how the killings resemble the crimes on Mima’s show, amplifying a hall of mirrors influence that wedges the starlet further away from herself with every subsequent trauma — real or imagined — until the imagined comes to think a reality all its possess. The indelible finale, in which Mima is chased across Tokyo by a terminally online projection of who someone else thinks the fallen idol should be, offers a searing illustration of the future in which self-identification would become its personal kind of public video sexy bloodsport (even within the absence of fame and folies à deux).

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