From the depths of the human imagination comes Twilight Q, a Twilight Zone-style set of two tales based upon the paranormal and supernatural. In one story, Mayumi and Kiwako find a camera that supposedly came from the future, with very interesting film and already-taken pictures inside. Secondly, a tale by Mamoro Oshii which chronicles a strange occurance of planes turning into carp in mid-air, much to the dismay of private investigators and the media alike.
"I have only abandoned my body, I still live here" - are the words emailed to friends of Chisa, several days after her death by suicide. As Lain delves deeper into the world of the "Wired" (also known as the internet), the line between it and reality becomes more and more unclear. Close the world, open the nExt.
Ersatz realities, elliptical narratives, and innoucuous beings with a surprising place in the universe - both are pretty good examples of the mind-bending variety of anime.
Both SEL and the second episode of Twilight Q are really trippy anime. They both create a pleasantly confusing atmoshere and contain a character that may or may not be a god (or godess).
In a dark and largely abandoned city a little girl wanders in search of something – beneath the folds of her dress she carries a mysterious giant egg. While living on the streets, she encounters a lonesome warrior who has forgotten his past and his purpose and, like the girl, travels aimlessly. Now they journey together, mistrustful of each other whilst sharing in the silence of the city. But who is the little girl? Who is the warrior? And what form of creature lies sleeping inside the egg?
Chiefly a recommendation for the second episode of Twilight Q, 'Labyrinth Real Estate'. Both this and Angel's Egg are slow, strange, opaque works from Mamoru Oshii - though 'Labyrinth' is by far the more comprehensible of the two. They also both feature giant fish up above.
Tamiko, Kinekuni and their son Inumaru live in an apartment in Japan and live a relatively slow and quiet life, until one day a beautiful girl named Maroko shows up at their door step. She proclaims herself as being from the future, and has traveled to the past to visit her distant relative: Inumaru, her grandfather. What follows is a wildly philosophical and intellectual journey: Tamiko storms out of the house, refusing to believe the whims of this new stranger; and Kinekuni and Inumaru invite her into their home. With spandex-clad time policemen after Maroko and the ethical dilemma of time travel at every turn, the Yomota’s will try their best to remain a family.
More of a recommendation from the second episode of Twilight Q, since both involve Mamoru Oshii, but they are also presented in a very similar way. They both have a very enclosed feel to them, mostly set within the same room for the whole episode, and the story is told in a very similar way by the characters.
If you like the way in which the story is told, the dark atmosphere and a story/situation that is interesting, you might like the other.
Neo-Tokyo (commonly called Manie-Manie Monogatari) is a collection of three sci-fi stories, based on the stories of Taku Mayumura. "Labryinth Labyrithos", "The Running Man", and "Order To Stop Construction" were directed by Taro Rin, Yoshiaki Kawajiri, and Katsuhiro Otomo, respectively. Ranging from an abstract demented clown to malfunctioning robots, each of these short stories are sure to entertain.
Throughout Tokyo, a frightening number of construction Labors have begun to suddenly go berserk and violently malfunction. The growing chaos of Tokyo is overshadowed by the looming edifice of the Babylon Project, the lynchpin of Japan's plan to reclaim the land under Tokyo Bay. To make matters worse, its lead architect recently committed suicide by throwing himself off of it into the waves below. How will the Metropolitan Police's Division 2 investigate the malfunctions in the midst of world-wide destruction, when the reliability of their own Labors lies in doubt?
The second episode of Twilight Q and the first Patlabor film - both by Mamoru Oshii - are brooding, contemplative works, prominently featuring a mysterious man with a trenchcoat and sunglasses. The Patlabor film is the more normal of the two works, with recognisable characters and mecha and so on, but if you enjoyed one you may appreciate the other.