Satoshi Kon - Between Reality

Animation can be breathtakingly beautiful, transporting you to worlds you could only see in dreams. Beautiful landscapes that exist among the stars, or maybe closer to home. When I think of gorgeous animation, I think of anything created by Makoto Shinkai—the creator of most recently Suzume, but most popularly Your Name. Other people may think of Miyazaki. Animation can also be unsettlingly skin-crawling, with horrifying monsters and bleak, desolate scenery fueled by nightmares. Animation lends itself well to body and psychological horror. When I think of the best anime that bends reality in a terrifying way, I think of Satoshi Kon.

Recently, I watched Tokyo Godfathers, and for the most part, it was a very down-to-earth film. It’s a story of three people who are homeless for different reasons, scraping by to survive in a world where they may no longer feel they have a place. It’s a movie about found family and taking care of that found family. It’s also surprisingly funny given the dark topic of homelessness. I watched it through Amazon, and since I have to watch everything with subtitles, there was a particularly interesting scene where one of the main characters-Miyuki- is kidnapped during a firefight and then dropped on the doorstep of a very kind lady. It was jarring and felt like an odd change of pace. The most interesting part is that the scene highlights language barriers: even with subtitles on, as the kind woman spoke Spanish, we weren’t given English subtitles. If you didn’t speak Spanish, you were as lost as the Japanese-speaking character. The pacing and the intertwining of the stories felt familiar, and so did the expressively fluid animation style. There were familiar characters peppered through the background that I initially assumed were coincidences—until the baby spoke at the end. I found myself Googling.

Satoshi Kon's films are consistently hauntingly mind-bending experiences. When you boil it down, Tokyo Godfathers’ narrative is the most grounded in reality. His stories are often told nonlinearly, leaving you with a jumbled puzzle to sort through and create a complete picture. If you’ve watched any of his films, your interpretation might be completely different from mine.

The first piece of media I experienced from Satoshi Kon was the show Paranoia Agent. As I’ve gone back through his filmography, all I can think of is how Paranoia Agent was a love letter to all the movies Satoshi Kon created before it. The background characters I saw in Tokyo Godfathers had bigger roles in Paranoia Agent, helping the plot evolve. The plot of Paranoia Agent twists and turns, jumping through layers of reality as characters tell tall tales that spark public panic and bring these tales to life. To me, it very much mirrors the chaotic, colorful feel of Paprika, a story about jumping through dreams that seep into reality through modern technology. Paprika and Paranoia Agent also have soundtracks that are fun and somewhat similar, with a whimsically creepy air.

Paprika has stuck with me like a dream I’m trying to recall, just on the edge of my mind, shrouded in fog. If I could confidently recommend any Satoshi Kon film, it would be Paprika. Go in with an open mind and enjoy the bizarre ride; it will definitely warrant a rewatch.

If you’re looking for something with less vibrant color, Satoshi Kon’s most well-known film is Perfect Blue. It’s a gritty story about an ex-idol, Mima Kirigoe, who battles not only a stalker but also her inner demons. Her inner demon is arguably scarier than the stalker. Slowly, Mima’s perception of reality becomes twisted as she loses herself between acting and reality. This movie has an interesting history, evolving from its original release plan as a direct-to-video film to being shown and adored at the Fantasia International Film Festival in Montreal, Canada, where it became a surprise hit. It was re-released in the U.S. by GKIDS in 2018 and has an English version. Unfortunately, I only know the bare bones of this story as I’ve never seen Perfect Blue. It is on my watch list, and I think it should be on yours.

At the center of Satoshi Kon’s stories are usually women on the brink of experiencing a pivotal moment in their lives. They’re at the top of their field, thriving, and one domino falling can throw them into a journey of self-discovery—even if it’s a bit twisted at times. The women Satoshi Kon writes about are complex, showcasing how they may feel one way but are pressured by the world around them to act in another. When they’re hiding a piece of themselves away, psychological fantasies start to take root. For example, in Paprika, Atsuko learns that she can let people in and love without being hurt. Atsuko confesses her attractions, thus becoming one with her more promiscuous and openly friendly dream self, Paprika. Atsuko sheds her cold, calculating demeanor seen throughout the film and warms up. In Tokyo Godfathers, Miyuki stabs her controlling father and runs away, believing he now hates her. Miyuki struggles throughout the movie with the knowledge that she had a good home that she ruined, which put her on the street. She eventually reunites with her father and finds forgiveness. At the core of Satoshi Kon’s films is a woman struggling to find peace with herself.

Satoshi Kon had the opportunity to bring incredible pieces of visual art to life. Fun fact: he was a key animator on JoJo’s Bizarre Adventure: Stardust Crusaders OVA. His movies are highly regarded by fans, critics, and animators alike. He was at the pinnacle of the animation world with his exploration of stories that blended reality with dreams in a way viewers would never forget. Unfortunately, Satoshi Kon passed away in 2010, leaving behind a legacy that will be praised for years to come. Whenever someone is looking for something different in their anime stories, I believe they will inevitably stumble upon Satoshi Kon’s works. He did leave behind an unfinished film, Dream Machine. It was intended to be picked up and completed by a long-time friend, Masao Maruyama. In 2016, Maruyama still had hopes that it would be finished but was searching for someone as talented as Satoshi Kon. There has been no news since then. If you have time on a stormy day, I recommend dimming the lights and starting a Satoshi Kon film that will leave you speechless.