trickery

His films like *The Game*, *Fight Club*, and *Gone Girl* are built on elaborate deceptions and narrative tricks that systematically deceive the audience.

He constructs intricate plots around misdirection and illusion (*The Prestige*, *Inception*, *Interstellar*), where trickery and perception are central themes.

His thriller films (*Blow Out*, *Body Double*, *Dressed to Kill*) are obsessed with visual deception, voyeurism, and manipulation of audience perspective through cinematic trickery.