A widow on the Sumbanese savanna carries her husband's mummified corpse and the severed head of her rapist across the landscape, the dead becoming literal cargo of vengeance. Like Le Chevalier D'Eon, the film treats the corpse as an active political agent and the female body as a site where private grief metastasizes into public reckoning.

Migrant laborers jack their nervous systems into remote machines, their bodies becoming conduits for distant labor while their consciousness remains trapped at the border. The film shares Le Chevalier's central preoccupation with the body as a vessel hijacked by absent powers, where sovereignty over one's own flesh is the first thing surrendered to imperial machinery.

In an Alpine town, the recently dead walk back into their old lives unchanged while the living have aged and mourned, forcing households to negotiate with revenants who refuse to stay buried. The series mirrors the anchor's interest in unfinished deaths that demand political and emotional accommodation, treating return as an ethical crisis rather than a miracle.

A Danish-Hungarian co-production examining how an unconventional teacher channels the unresolved wounds of others through her own combative body, becoming a vessel for collective adolescent grief and rage. The show shares Le Chevalier's understanding that certain individuals serve as conscripted mediums for communal traumas the institutions around them refuse to address.

In the Sundarbans tide country, a translator and a cetologist navigate the drowned histories of refugees massacred decades earlier, the dolphins and tides themselves carrying the testimony of the disappeared. Like Le Chevalier D'Eon, the novel treats geography and the body as palimpsests where political murder leaves its dictation, and where the living must learn to receive what the dead are still trying to say.

A Sudanese narrator returns home to find a stranger who has carried colonial London's violence inside himself like a possession, performing seductions and murders as a kind of haunted reverse-conquest. The novel anticipates the anchor's central conceit: that the colonized or the wronged dead can lodge themselves inside a living host and use that body as a sword aimed back at empire.

Richard D. James interleaves prepared-piano laments composed as if by a Romantic ghost with corrosive electronic seizures, treating the album as a body inhabited by two incompatible souls speaking in turns. The work shares Le Chevalier's structural logic of dual occupancy, where the courtly and the violent share one vessel and neither is permitted to fully silence the other.

Astatke channels Coptic liturgical modes and Amharic pentatonic scales through the body of American jazz orchestration, letting an older sacred music speak in a borrowed contemporary tongue. The album operates by the same possession logic as Le Chevalier, where an inherited tradition takes residence inside a foreign form and refuses to be merely assimilated by it.

A wandering medicine seller exorcises spirits born from human transgression, but only after extracting the Form, Truth, and Reason of the wrong that bound the dead to the living host. The series shares Le Chevalier's procedural occultism in which possession is never random and the body's haunting is always the precise consequence of a buried political or domestic crime.

A young man dies, argues with God, and returns to his own body to relive the moment of his death differently, treating the corpse as negotiable terrain rather than a fixed endpoint. The film resonates with Le Chevalier's premise that death is a beginning of agency rather than its conclusion, and that the body, once vacated and reclaimed, becomes a stranger instrument capable of new music.