When Tim Burton’s Batman hit theaters 25 years ago, it was more than just a pivotal film in the superhero genre. It was a pivotal film in any genre — largely due to its phantasmagorical sets and vehicles. The 1989 vision of Gotham City, the Batmobile and the Batwing all sprang from the dark, fertile imagination of the film’s Oscar-winning production designer Anton Furst. Watch some of Furst’s earlier films and it’s easy to see how his and Burton’s aesthetics would play well with each other. For The Company of Wolves, Neil Jordan’s 1984 horrific take on the tale of Little Red Riding Hood, Furst created a world that merged storybook fantasy with gothic gloom. For Stanley Kubrick’s Full Metal Jacket, he created crumbling sets and morphed actual locations in the UK into a war-ravaged Vietnam. In Batman, Furst’s vision would synthesize fantasy and realism into a dystopia crawling with life. Like the Los Angeles of Blade Runner, Batman’s Gotham City is a retro-futurist hellscape. Its look is influenced by Art Deco, Streamline Moderne and Brutalist architecture. Batman’s stalking grounds are layered with trash and caked-on soot, giving it the feel of NYC at its sleaziest and most decadent. The best of times and the worst of times. It’s as if Furst took a once-gleaming dieselpunk metropolis and smeared it into the sticky floor of Travis Bickle’s taxi.