Five Nights at Satoshi Kon’s: Tokyo Godfathers

I was quite apprehensiveexcited for this one. Apprehensive: I was unwilling to watch another film in the vein of Millennium Actress, in that it merely did the thing the other thing did again, while adding minor points that, while important, didn’t save the sameness of the film overall. Excited: I was definitely aware that this was the film that differed in tone and subject matter, and was certainly looking forward to a film that would apply Kon’s skills to something different, yet perfectly conducive to comedy through the detail of his art. So I was absolutely on board with the film, despite a fear of burning out on Kon’s style.  Read More

Five Nights at Satoshi Kon’s: An Introduction

Long ago, in the land before time, there existed a man… A myth… A legend…

His name was Mamoru Oshii, and I made it a quest to watch his films, valiantly blogging my thoughts, and seeing how I would receive each film or series. Subtly but not so subtly ripping off Digibro’s 8 Nights of Kara no Kyoukai, I pressed on…

Until I realised that he was far too prolific for my free time, and made it Satoshi Kon instead.

Since this was a project, I decided to get it out of the way in Christmas. For those who haven’t seen 8 Nights of  Kara no Kyoukai, it was Digi watching one film a night, and discussing how each film connected with him, and why. Slightly too esoteric for my taste, but it’s what I’m attempting to emulate here.

Although I was intending to write each post immediately after I watched each film, that didn’t happen, but I’ll be trying to write as if I had just seen each anime. I started this on the 26th, and watched Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent, and Paprika, one a day. I did the same with Kara no Kyoukai before and during this, but that’ll be one post as a general reflection, as there’s too much in that series to do one post per film.

So then, let it begin.