The Smithsonian’s National Museum of Asian Art will stream Carlotta Films’ French documentary film Satoshi Kon, l’illusionniste (beforehand titled Satoshi Kon: La Machine À Rêves) by director Pascal-Alex Vincent in the United States in Eventive for seven days from March 26 onwards.

The film had its world premiere on the Festival de Cannes 2021 from July 6-17. The film screened in the “Cannes Classics 2021: the documentaries” a part of the competitors. The documentary film had its North American premiere at Montreal’s twenty fifth Fantasia International Film Festival from August 5-25.

The agency had beforehand streamed a teaser for the film that listed a 2020 launch date, nonetheless the film’s launch window was not however confirmed on the time on account of new coronavirus sickness (COVID-19) state of affairs.

The documentary choices interviews with: Mamoru Oshii, Mamoru Hosoda, Masao Maruyama, Taro Maki, Masashi Ando, Aya Suzuki, Masaaki Usada, Sadayuki Murai, Hiroyuki Okiura, Masafumi Mima, Yasutaka Tsutsui, Nobutaka Ike, Junko Iwao, Megumi Hayashibara, Shōzō Iizuka, Jeremy Clapin, Marc Caro, Marie Pruvost-Delaspre, Alexis Blanchet, Dimitri Megherbi, Yael Ben Nun, Rodney Rothman, Darren Aronofsky, and Andrew Osmond.

Satoshi Kon handed away on August 24, 2010.

Kon began working as a manga creator on such works as Kaikisen (1990) sooner than deciding to delve into the anime commerce with the art work design of Hiroyuki Kitakubo and Katsuhiro Otomo‘s Roujin Z video in 1991. He then labored on the script and art work route of “Magnetic Rose,” a piece of Otomo’s 1995 science-fiction anthology film Memories.

Kon first drew worldwide consideration collectively together with his attribute film directorial debut, the psychological suspense film Perfect Blue, in 1997. He would observe that with a string of critically acclaimed anime duties: Millennium Actress (2001), Tokyo Godfathers (2003), Paranoia Agent (2004), and Paprika (2006). At the time of his passing, Kon was working at Madhouse on a attribute film often known as Yume-Miru Kikai (The Dreaming Machine). Madhouse launched later that 12 months that it had resumed manufacturing on Yume-Miru Kikai, nonetheless the enterprise stays unfinished. Masao Maruyama most simply recently acknowledged in August 2018 that the film stays to be unfinished. He moreover reported on the equivalent time that {{that a}} script is being written for an anime adaptation of Satoshi Kon‘s OPUS manga.

Source: Eventive


Disclaimer: Andrew Osmond, ANN’s UK Editor, is no doubt one of many interviewees featured in the film. Andrew was not involved in the writing or enhancing of this textual content.