plastic surgery

His body horror films like 'Crimes of the Future' and 'Cosmopolis' obsessively explore the mutation and artificial transformation of the human body as both grotesque and inevitable.

Films like 'The Skin I Live In' center on surgical transformation as metaphors for identity, desire, and obsession with creating an idealized human form.

His visceral examinations of physical self-destruction and psychological obsession, particularly in 'Black Swan' and 'The Fountain,' treat bodily transformation as manifestations of internal torment.