Kiyotaka Suzuki

Kiyotaka Suzuki’s filmography is honestly pretty wild—dude’s got his fingerprints all over some of the most talked-about anime in recent years. You probably clocked his name from “Evangelion Shin Gekijôban: Jo” (2007), which, yeah, is part of that whole Rebuild of Evangelion fever dream. That one basically took the old Neon Genesis Evangelion and upended it for a new generation—slicker animation, some wild new scenes, and a tone that veers from nostalgia to “wait, what just happened?” People who grew up with the original either lost their minds with excitement or grumbled that it was too shiny, but you can’t deny its impact. Then there’s “Babylon” (2019)—totally different beast. It’s a psychological thriller, we’re talking heavy on the mind games, where the main character gets pulled into this twisted conspiracy that’s got more layers than an onion. Suzuki really went for broke with the direction here, playing with pacing and tension. Stuff gets dark, and the moral questions thrown around are the kind that’ll keep you up at night. Not for the faint of heart, honestly. And, of course, “Evangelion Shin Gekijôban: Kyu” (2012), which just cranked the weirdness to eleven. The animation? Gorgeous. The story? Unhinged. If you thought you knew where the whole Evangelion saga was going, this movie pretty much laughs in your face. Suzuki’s style is all over it—bold choices, sharp direction, and that vibe where you’re never quite sure what’s coming next. All in all, the guy’s got range, and he’s not afraid to mess with your expectations.