self-destructive programming

His films obsessively deconstruct narrative and meaning itself, trapping characters and audiences in self-referential loops that collapse under their own contradictions.

He deliberately deploys formal techniques—reverse chronology, strobing, static shots—that overwhelm and alienate viewers, making the cinema experience itself a self-sabotaging act.

His meta-cinematic works systematically dismantle viewer comfort and narrative satisfaction, forcing audiences to confront how entertainment media programs and corrupts perception.