For Fans of Bjork

Lars von Trier's Palme d'Or winner is a brutal, beautiful work that could only have happened with Bjork at its center. She plays Selma, a Czech immigrant going blind in 1960s America, who retreats into musical fantasy to survive. The film is a genuine musical, a social-realist tragedy, and an almost unbearable endurance test at once. Bjork wrote the score, performed it, won Best Actress at Cannes, and reportedly vowed never to act again. The collision between her voice and von Trier's raw handheld camera produces something that no other combination of artist and director could have made.

From the early collaborations with Howie B and Mark Bell to Arca's fractured electronics on Vulnicura and Utopia, Bjork has always sought out producers who treat digital sound as living material. The Biophilia project, released as an app-album in 2011, made this philosophy explicit: each song was paired with a custom instrument or interactive app exploring a different force of nature. Long before artists talked about immersive or interactive music, she was building it. The games below share that same logic: music and mechanics fused until you cannot separate the listening from the playing.

Bjork has rarely given conventional interviews and has largely kept her private life private, which makes the Biophilia Live film and the various behind-the-scenes documents of her touring periods unusually precious. They catch a working artist thinking out loud about the relationship between nature, technology, and emotion, in real time, with collaborators who are clearly as obsessed as she is. Voltaique, the live concert from Paris, captures the Volta tour at its most theatrical. These are not promotional materials. They are arguments for a way of making art.