From the sublime 60s pastiche of Peter Strickland’s The Duke of Burgundy to a ridiculous update of Annie, by way of Ridley Scott’s latest biblical spectacularOn the face of it, a “perfume by” credit in a film seems a ludicrous affectation; when the credit belongs to an outfit called “Je Suis Gizella”, the strongest initial whiff one gets is of self-parody.

 

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