Kon is often compared to Lynch, never Lynch to Kon. This is surprising given how much alike Perfect Blue and Inland Empire are. In both films, actresses can't distinguish between acting and everyday life; when they try to make sense of it all they dissociate so radically from the real world that parts of their minds literally take on lives of their own--or so it seems. Kon resolves this seeming unreality very badly.
elliptical editing, and the matching of scene transitions express the dissociative affect of living multiple lives at once the mass information of the collective through the individual, animation towards the subliminal representation of reality and collective spaces gives painterly expression deep and private illusions waking and dreaming a film that is not concerned with the differences but the obvious similarities
The editing in this film is something special, and it seems to only be possible in animation. The constant shifting of what is reality helps bring you into the main character's mind and makes this one of the best psychological thrillers I have ever seen. Something else I really love about this film is the story idea is so uniquely Japanese. I don't know any grown men here who love girl bands. Love the soundtrack too.
3.5, probably 4. Edits, cuts, go to unexpected places. Except for all those scenes that revel way too much in the image of beaten young women. Anyway, I usually don't like montages this flashy in modern drama (as opposed to say, and experimental film). Personal taste def. pushing against high esteem I have for the way this was put together. Hate it when that happens!