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Together with his studio CoMix Wave Films, Shinkai brings to magical, ethereal life the otherwise unremarkable settings of Tokyo's streets - usually under a hazy layer of rain, snow, cherry blossoms, or a combination of all three. "In the mornings, in the moment I woke up, I realized I was praying for rain." Makoto Shinkai, the director behind last year's global mega-hit Your Name, has become known for layering metaphysical plots onto photorealistic renderings of modern-day Tokyo.
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It's a simple premise that begets a rather convoluted story, but in the end, this cerebral oddity of a film is something better experienced than explained. Kon is firing on all cylinders with 2006's Paprika, which takes his envelope-pushing directorial flourishes and applies them to the world of dreams in a story following psychologist who enters her patients' dreams. In his more grounded, but still surreal, dramas you can see it: his reality-distorting editing in Perfect Blue, his quick inserts and cuts in Millennium Actress. Kon plays with our perceptions in an elusive and almost invisible way in his final feature film. But nothing beats this epoch of Japanese animation (well, apart from the No. Sure, live-action films have tried to imitate its premise to lesser effect - you can see its influence in Inception and other mind-bending films that try to capture the effect of dreams. I don't think I've seen anything as imaginative, anything as bold, and as weird as Satoshi Kon's Paprika.