Angel's Egg

German immerses the viewer in a feudal mire of mud, viscera, and theological despair, where an observer from a more enlightened civilization cannot intervene in the slow rot of a world that refuses revelation. The film shares Oshii's commitment to a textured purgatorial atmosphere where divine purpose has curdled into ritual cruelty.

Adapted from Tom Perrotta but realized through Mira Nair, Mimi Leder, and an Australian-co-produced sensibility of grief, the series examines communities that build new theologies around an unexplained Departure. Its haunted survivors carry their absent loved ones the way Oshii's girl carries her unhatched faith.

Pessoa's posthumous fragments record an assistant bookkeeper's interior cathedral, where every observation becomes a private liturgy of doubt and longing for transcendence. Like Oshii's wandering girl, Bernardo Soares preserves something fragile and possibly meaningless through ceaseless, devotional attention.

Recorded in Stockholm with Swedish engineer support and released on ESP-Disk, Ayler's free-jazz hymnal converts spirituals into shrieking, weeping prayer that refuses harmonic resolution. The album occupies the same liturgical register as Oshii's film, where the gesture of worship survives the collapse of any congregation able to interpret it.

Co-produced with Korean studio support and partly animated by Korean teams under the Studio 4°C umbrella, this kaleidoscopic descent into a whale's belly stages a confrontation with God as a shifting, capricious figure. Its surreal eschatology answers Oshii's solemn waiting with manic spiritual improvisation, but both treat the divine encounter as the central artistic event.