Gênero: Avant Garde, Award Winning, Mystery, Sci-Fi, Suspense
Estudio: Madhouse
Sinopse:
The world of dreams can be an incredible window into the psyche, showing one's deepest desires, aspirations, and repressed memories. One hopeful tech lab has been developing the "DC Mini," a device with the power to delve into the dreams of others. Atsuko Chiba and Kosaku Tokita have been tirelessly working to develop this technology with the hopes of using it to deeply explore patients' minds and help cure them of their psychological disorders.
However, having access to the deepest corners of a person's mind comes with a tremendous responsibility. In the wrong hands, the DC Mini could be used as a form of psychological terrorism and cause mental breakdowns in the minds of targets. When this technology is stolen and people around them start acting strangely, Atsuko and Kosaku know they have a serious problem on their hands. Enlisting the help of Officer Konakawa, who has been receiving this experimental therapy, they search both the real and dream worlds for their mental terrorist.
[Written by MAL Rewrite]
Nenhum episódio encontrado.
Comentários
slpless
I'm a big fan of Satoshi Kon's work, so when I heard that Paprika was showing at the Chicago Film festival nearly 2 years ago I had to go no matter what. So there I was with a fever, headache, and doing my best to hold back my coughing. After watching, I kind of wished I had stayed in bed. Perhaps it was due my illness but after a re-watching it I still share the same sentiments I had nearly 2 years ago. Those familiar with Satoshi Kon's work should know he likes to blend reality and illusion. Paprika was no exception,dealing with the dream world via DC mini, a device which can be used to enter someone's dreams. As expected the dream world Kon created was incredibly imaginative and surreal. Animation and art for this movie was easily the best of Kon's work as well as most anime. This movie was worth watching just for the animation and surreal world that Kon creates. Music was equally good, creating a haunting yet beautiful atmosphere. Sadly I don't think its possible to even possible to describe the surreal and imaginative dream sequences in Paprika. However, that's it, I could go on and on about the movie's technical merit, but it doesn't make up for its weak narrative.
Paprika featured highly imaginative imagery and excellent editing that Kon is known for however, what was it all for? If we take out the imagery out of the equation, what do we have left? The basic outline of Paprika's story was wafer thin and had a painfully obvious twist near the end. In addition, a tacked on romance that made far less sense than even the most surreal imagery that Kon can muster. Chances are you're thinking “Its all about the execution, who cares about a weak storyline as long as its done well.” Yes, execution is more important and surreal imagery and crazy editing can be used to make an otherwise boring story captivating. For example, Millennium Actress, one of Kon's earlier works. However, in the case of Paprika the surreal imagery felt like it was the main point and the story/characters were secondary. Also, the imagery didn't serve any purpose with respects to the story, it was there for the sake of being there and a “plot” to provide it some context.
What I said was only for the main plot line, the detective's sub plot was sadly far more interesting. Here the use of imagery really suits his story and conflicts, similar in execution as in Millennium Actress. However, something is wrong when a sub plot is more interesting than the main story.
Characters are also pretty weak. The villain was pitifully boring and one-dimensional. Sadly, I can't say otherwise for the rest of the cast. Also, the development of Atsuko and her romance at the end was so forced it was unbelievable. Once again, this confused me more than even the most surreal imagery Kon can muster. Konakawa (the detective) was the only saving grace in the cast of Paprika. He actually had a decent amount of characterization and actually developed through the course of the movie.
Paprika was a wholly imaginative work that only Satoshi Kon can create. He creates a landscape that was beyond words. This was coupled with amazing technical achievement by Madhouse, the animation studio. However, Paprika failed in terms of story and characters. The visuals didn't serve much of a purpose with respects to the plot and felt like it was there for the sake of being there. Also, this plot was incredibly superficial and painfully predictable. The tacked on romance and forced character development was equally painfully and confusing. Konakawa was the only saving grace in terms of story and character however, something is wrong when a side character was more interesting than the main story. In the end, Paprika is more like a dream than Kon probably intended. It was captivating during but when it ends you'll remember only a few visual snippets and forget everything else.
Washi
Paprika, Satoshi Kon’s (Perfect Blue, Millennium Actress, Tokyo Godfathers) latest movie, is a whimsical and imaginative journey into the concept of dreaming. As with each of his productions, Paprika is a distinctly unique and fresh film, while also retaining tones of Satoshi Kon’s usual quirkiness and style. While this is a film that revolves around exploration into the farthest reaches of human subconscious, it has traded the introverted and claustrophobic psychological tension seen in Perfect Blue for a decidedly free and open approach to the human mind, fitting with the theme of the limitless expanse of dreaming. This gives it a more relaxed and funfeel, whilst also retaining its depth and profoundness. In quite the same way as Tokyo Godfathers was, paradoxically, a light-hearted melodrama, this film is an accomplished juxtaposition of emotion, as the dark themes of jealousy and hatred are played out in the hallucinatory escapism of the dreamscape.
Dreams as a concept have always captivated me, and never before have I seen such a well-done representation of dreams in any form of media. Movies usually treat them as either being pointlessly strange, or pointedly symbolic, but Paprika captures their essence to fascinating effect. Dreams are as much about flow and direction as they are about the immediate situation, and this is something very apparent when watching Paprika, as the dreams flow and change fascinatingly with mundane illogic, moving from one setting to another with only a thematic thread between them. Looking back at my own dreams and how they shift from setting to setting based on the emotional context, and I see that Paprika portrays this perfectly. I can see that the dream sequences were thoughtfully brought to life, and were not just crazy for the sake of crazy. But through all its fanciful imagery and creativity unbound from realism, Paprika has a story behind it that deals with very strong human emotions, and it excellently weaves this emotional content throughout the films, particularly in the dream sequences, where the subconscious expresses the truth behind each character’s external, day-to-day personality.
The way it tells this story is simultaneously a strength and a flaw of the film; on the one hand I am inclined to say that it was obfuscatory in the way it obscured the plot from the viewer. While watching this movie I felt like I was trying to get my head around a particularly long riddle. As I followed it, the only understanding I really got of what was actually going on was in retrospect, and while some may call this clever, I found that not having an idea of the direction of the plot was a detriment. However, given that the movie revolves around the theme of dream analysis, it is also a fitting method of storytelling: the audience itself has to engage in the movie as though it were analysing a dream, and hence can only be understood when looking back at it. However, my advice to anyone planning to watch the movie: pay close attention to the dialogue and symbology of the dreams, because it is all too easy to get caught up in the zany fun of the dream sequences and lose track of the plot.
When it comes to the plot itself, I’m not so enthusiastic. Nor am I so aflame with praise when it comes to the characterisation. Both of these factors are the reasons why I am hesitant to label it as my favourite Satoshi Kon film; Tokyo Godfathers had excellent characterisation, and a simple yet powerful story; and Perfect Blue, with its introverted character study, delivered a great emotional impact. It may well be impossible to create a perfect film, but if these factors had been better incorporated into Paprika, then it would be among my favourite anime films, possibly my very favourite. It is a shame that Satoshi Kon’s vision and creativity is let down by a lack of depth in his characters and stories now, after his consistent accomplishments in the past. I think the main problem was that the movie tried to involve a too larger cast, to whom it could not provide ample depth in its limited feature-length time-frame. The other problem was that there was very little attention given to delivering a sense of conflict, a crucial element to any story. Perfect Blue had the internal conflict of the subconscious and the conscious; Tokyo Godfathers had conflict between its characters and society; and this movie tries to incorporate an antagonist-protagonist conflict, almost as an afterthought, with neither party given enough profundity to their perspectives to make the conflict intense. There was mention of their different ideology when it comes to the exploration of dreams, and a subplot of jealousy, but little more. So the story lacks the optimal ‘beginning -> conflict -> end’ structure, meaning it felt like it just went on and on until it finished, as entertaining as it was.
I have little to say about the technical achievements behind this film, other than the fact that it was fantastic in almost all aspects, with only the score music lacking. It is clear he used the same musical producer behind Paranoia Agent’s score track, and I simply cannot find his style of music appealing; it feels immature and cannot contribute effectively to the mood of the movie. Much better was the use of music in Perfect Blue, the score of which really sold the hauntingly intense atmosphere. The visuals are much better; this is his best looking film yet, with vivid animation and, as expected, brilliant direction.
It was not given enough weight, but I liked the message that dreams are the final sanctity of the human mind, which should not be intruded upon. This movie beautifies dreams, and attaches importance to them (as seen in Atsuko’s acknowledgement of her feelings for Dr. Torataro through her subconscious), and the suggestion that veil between them and reality is sacred really spoke to me, even if it came from the mouth of the antagonist. Paprika is a thoroughly enjoyable, visually captivating movie, which does overwhelming justice to its theme of dreaming, but which has flaws in its plot and characters that prevent it from being a great achievement as a film.
NeverKnowsBest26
Satoshi Kon was among the best directors in the medium of anime until his unfortunate and untimely death in 2010. His blending of realistic character designs and settings with Lynchian surrealism created visual experiences unlike anything anime had produced before. Beautiful and haunting dreamscapes that unraveled the human psyche both literally and figuratively. A great example is his last work; the strange, dense, and insanely inventive Paprika. Adapted from a novel of the same name by science fiction author Yautaka Tsutsiu, Paprika takes Kon's mind-bending style and applies it quite literally to the plot. The story takes place in the near future, where a remarkable devicecalled the "DC Mini" has been invented, which allows people to enter other peoples' dreams and access their unconscious thoughts; intended for the use of psychotherapists. However, while still in its development, one of the DC Mini prototypes is stolen. Soon, development staff members begin to have their dreams invaded and entangled, and its up to head of development Chiba Atsuko, and her chipper alter ego Paprika, to find the culprit and retrieve the prototype before more damage is done.
This premise works perfectly with Kon's directing style and the themes he often explores. The movie weaves from dream to reality and back again seamlessly. With the DC Mini giving the ability to enter (or invade) peoples' dreams and psyches, it becomes increasingly difficult to distinguish between delusion and reality. There are scenes which seem to take place in reality, until something strange occurs, pulling back the curtain to reveal that it is a dream instead. The dissolving wall between the two comes with some serious consequences, as characters slip into madness; becoming delusional and erratic. Kon perpetuates a sense of unease and delirium with colorfully deranged imagery, hallucinatory sequences, and sudden outbursts of insanity, keeping the audience in a state of constant imbalance. And yet there is a certain unhinged joy than comes with the madness. There is something wondrous about unconscious mind and the images it conjures; the limitless possibilities of a dream, and the hidden meanings behind those dreams. Even at their most disturbing, the surreal dreamscapes of Paprika are entrancing.
Our protagonist, Atsuko, is cool-headed; always in control. She maintains a stern, often harsh, but logical and level-headed demeanor. She's all business, doesn't have much of a sense of humor, and little patience for the childish irresponsibility of man-child genius Tokita, the inventor of the DC Mini. Or at least that is how she seems on the outside. In stark contrast is Atsuko's alter-ego, the titicular Paprika. Paprika is a free spirit, more easy going and fun than Atsuko, to the point that the two seem to be completely different people, and not just because of their differing character designs. This contrast is interesting because it shows how a person's suppressed desires can manifest in spite of (or because) their attempts to keep control over themselves. As much as Atsuko would like to think she has control over herself and everything around her by suppressing her emotions, she's only being dishonest with herself. The rest of the cast (sans Detective Konakawa), are underdeveloped, yet still likeable and interesting. Tokita adds some nice comedic relief; the two antagonists are really quite interesting, though they would have certainly benefited from more screen time.
There is also a sub-plot involving a detective who Atsuko is treating in unauthorized sessions using the DC Mini. Here, Kon infuses Paprika with his love for movies, ironically enough through a character who claims to hate movies. Despite such claims, Detective Konakawa's dreams often are movie themed, and his strong objection to movies implies some kind of past trauma. Indeed, as the movie delves deeper into his character, it reveals he has a deep knowledge and connection to movies, but now avoids them because of unfulfilled and broken desires of his youth. The movie reveals this slowly and uncomfortably, often playing out like a therapy session, using motifs such as a reoccurring dream of a murder in a hallway which represents a case Konakawa is currently having trouble solving, or his dislike of the number 17. Konakawa's character ark also draws a interesting parallels from movies and the internet to dreams; all are places that the human subconscious can escape into. A rather meta concept, considering that you are watching a movie.
Paprika is Satoshi Kon's most vivid and wildly imaginative work. Kon clearly let go of restraint from the deranged, ever-shifting opening dream sequence. However, that isn't to say that it is done with no finesse, quite the contrary actually. Even with the free-floating lunacy of the movie, Kon's cinematic brilliance shines through. The radical transitions from dreamscape to dreamscape, which would look awkward in less skillful hands, flow like water under Kon's direction. The imagery is dazzling (if at times unsettling), and incredibly creative, sometimes frighteningly so. The chase scene in which Paprika is being pursued by the antagonists through multiple shifting settings is a breathtaking showcase of the movie's visual ingenuity. As is the movie's crazed grand finale, which features one of the main characters growing from infancy to adulthood while absorbing another character's dreams. There are also some crafty motifs the movie implements to set mood and tone, notably the crazed parade that is assimilating all other dreams. This all comes together to create a unique controlled chaos of visual imagination that is impossible to forget. It's also worth noting that the movie has the coolest opening credits I've seen, with Paprika taking a tour of the city in a way only she can.
The sweeping electropop soundtrack by Susumu Hirasawa is fittingly strange, but also grants the movie a sense of grandeur. The music has an odd, otherworldly texture which works very well in a movie that spends most of time roaming through the realm of dreams and human consciousness. Interestingly enough, some of the vocals were produced using vocaloid, which doubtlessly contributed to the music's strangeness. Of special note is the bouncy track titled 'Meditation Field' that accompanies the opening credits, and the bizarre 'Parade' which plays as people descend into madness or when that crazy parade of dreams shows up.
Though sometimes a bit convoluted, Paprika is an eye-popping, cerebral extravaganza that never fails to impress and entertain. More than simply a piece of eye-candy, the movie invokes some interesting ideas about dreams and the human psyche. Both Atsuko and Konakawa illustrate some fascinating insights in how people lie to themselves or bury the unpleasant, and what repercussions that might have. Paprika is just exploding with creativity, brimming with imagery straight out of your wildest dreams, and endlessly entertaining. It's a fitting final work for a great master.
Venneh
Title: Paprika Novel, Movie: Paprika is based off of the novel of the same name by Yasutaka Tsutsui, which was serialized in the Japanese women's magazine Marie Claire in 1993. The movie itself came out in Japanese theatres in November of 2006, and was animated by Studio Madhouse (famous for Death Note and Paranoia Agent, another one of Satoshi Kon's works) and directed by Satoshi Kon (famous for Paranoia Agent and Tokyo Godfathers). It received a limited run in theatres Stateside in May of 2007 courtesy of Sony Pictures, and was released on DVD in November of 2007. Story: The story revolves around a device called theDC Mini, which allows psychiatrists access into their patient's dreams, which gives them a glimpse into the patient's unconscious mind and helps treatment. One of these devices is stolen, and the researchers who worked on the project soon find themselves unable to tell the difference between reality and their dreams, which start blurring into one. Atsuko Chiba, one of the head developers of the device, uses her alternate ego, Paprika, to dive into their dreams and try to uncover the mystery of who's screwing with them.
In case you couldn't tell, this is classic Kon, in that it hits on being unable to tell the difference between dreams and reality, and damn, does this come through amazingly in this story. There are points in the movie in which you are unable to tell whether you're still in the dreamworld, or in the waking world. And the things you find in the dreamworld are several kinds of bizarre and symbolic, which is also classic Kon.
Kon actually admits to being a big fan of the novel, as it's one of his major influences; Tsutsui was impressed by his work on Millenium Actress and approached him about an adaptation. So this was something of a match made in heaven. As for faithfulness ot the original novel, those who have read it (I haven't) say that Kon's adaptation is a lot less technical, and Tsutsui has expressed his approval, so I don't think there should be any worries there.
One of the neat little touches at the end of the movie is that in the cinema in the final scene, there are movie posters for his last three major film works (Perfect Blue, Millenium Actress, and Tokyo Godfathers), and the fourth and final poster could well be a promotion for the new film he's working on (he has yet to release any details on the project).
Art: The art for this is absofuckinglutely beautiful and bizarre. The only way you can get an accurate sense of this is to look at the screenshots that I've included below, from the parade and a dream sequence, in that order, as I'm really unable to accurately describe the artwork in words:
Studio Madhouse has pulled it off yet again.
Music: Kon teams up with Susumu Hirasawa again for this, and the resulting music is amazingly haunting and beautiful as ever. I'm a particularly big fan of the music used for the recurring parade sequence, and the ED's fairly awesome, too.
Seiyuu: Megumi Hayashibara (famous for her roles as Faye Valentine in Cowboy Bebop and Rei Ayanami in Evangelion) plays the role of Paprika, and Satoshi Kon actually cameos in a small role. And all the other seiyuu do an excellent job in their roles, so no issues here, as always.
Dub: N/A, didn't see it.
Length: Perfect, though it drags a bit at times. Paprika clocks in at about two hours; any shorter, and it couldn't have developed things properly, and longer, and it would've gotten tedious.
Overall: Kon at his finest. This and Paranoia Agent are the two works of his that everyone should at least see once in their life.
Story: 9/10
Art: 10/10
Music: 9/10
Seiyuu: 8/10
Length: 8/10
Overall: 44/50; 88% (B )
kiriska
While Paprika is very typical of Satoshi Kon's work and thus a tad predictable at times, it's still a fun, entertaining movie that does boast a few innovations. STORY - The merging of reality and fantasy seems to be one of the most popular themes in anime, allowing it to span over many genres and to be addressed in many different ways. The theme seems to be especially favored by director Satoshi Kon though, and many of his past works reflect this seeming obsession, including Millennium Actress and Paranoia Agent. Rather than fantasy through movies or hallucinations though, Paprika grapples with the concept of dreams andhow they might be utilized to better understand the human subconscious for psychological therapy. Still nothing particularly groundbreaking, and even without being familiar with Kon's other works, some aspects of the story were predictable -- such as the identity of the "true" antagonist and the idea that injuries obtained in fantasy translate into injuries in reality.
Still, while not completely original, Kon sets up the stage for his story very, very well (as expected, I suppose), and if there is to be an example for a film with this kind of theme, then certainly Paprika could be it. The realistic and modern city setting contrasts greatly with the psychedelic dream world that's presented, which really helps drive home the theme of needing to separate and distinguish the two. The viewpoints presented by characters are believable and logic, allowing the audience to easily identify with them. Everything is perfectly paced, with events accumulating in an increasingly dramatic way towards the climax and final confrontation. Admittedly, for me, that final confrontation fell a bit short of expectations, but it was a fun ride all the same.
Paprika also has a lovely number of subtle side-stories woven into its central plot, mostly concerning character relationships and personal development. I especially enjoyed these as they seemed to emphasize the idea of "reality" and relationships within reality, as opposed to those in the fantasy world. This may tie more into the character section, but story-wise, it's always nice to have some lesser plots that actually do still contribute to the main idea.
CHARACTERS - For the most part, Paprika's characters were very well done. Or to be more specific, Paprika's protagonists were all very well done, while its antagonists left much to be desired. Dr. Chiba and her alternate dream personality, Paprika, are excellent foils of each other and it's very interesting to see them both develop as characters, especially when the situations force them to work together. Although they are already essentially two sides of the same coin, both personalities have a depth to them that makes them even more complex while still retaining the ties to each other. That's incredibly impressive. Think of it this way, if one normal character can be considered "3-dimensional" when it obtains the right level of depth and Chiba/Paprika are actually the same person while each achieving that 3d level, then does that mean they can be considered a 6-dimensional character in the end?
Tokita and Konakawa are also both fun characters with a good amount of personality to them. Though both may seem a little stereotypical at first glance, the situations and subsequent personality quirks are quickly explored. Both go through an introspective journey throughout the course of the movie and have intriguing relationships with Dr. Chiba (and/or Paprika), providing for uniquely entertaining interactions.
The further we move from the main cast, however, the less depth of character there seems to be. While this is probably normal, the low number of total characters in the movie makes it a little annoying when the antagonists fall so flat. Dr. Shima is a fun little guy, but is generally a very predictable support character. Worse off though, are the Chairman and Dr. Osanai, who should not have been as easy to figure out as they were. From the moment they were each introduced, both had vibes screaming that they would eventually be revealed to the working against our protagonists. Osanai's jealousy and infatuation was difficult to sympathize with, and while the Chairman's ideas were reasonable to some extent, his crazed personality lost him credibility, making his entire plot seem cheap and cliche.
ARTSTYLE & ANIMATION - Paprika is a beautiful movie. There's no disputing it. The colors are lively and vibrant, and the animation is slick and smooth. The real world is rendered perfectly with ridiculously detailed backgrounds and even more ridiculously detailed animated elements. The fantasy world is breathtaking, with even more insane details and unique elements. And when reality and fantasy come together? It's crazy just how fantastic everything looks. All the little ways they came up with to integrate to two realms was incredibly impressive -- Paprika's ability to travel through pictures on walls and televisions made for some very awesome sequences. The only real drawback to all of this is the information overload. With so many bright colors and so much movement, your eyes will probably be burning a bit when it's all over with.
MUSIC - Paprika's score is also excellent. The theme playing at the beginning of the movie as Paprika is dancing through traffic is very trance-inducing and hypnotic, thus fitting very well with the movie's themes. The parade music for the dream sequences is also very catchy and appropriately reminiscent of real parades and circuses. There aren't very many other recognizable background themes, but those that are there are effective for the scenes they're used for, such as the haunting melodies used as the characters enter an abandoned/unknown area.
VOICE ACTING - Though I've seen the movie several times on DVD, it's always been subbed, so I can't comment on the dub. In our original Japanese, Megumi Hayashibara is our title character and she does an awesome job giving both Dr. Chiba and Paprika distinguishable voices that are fitting to their separate personalities. The rest of the cast does not particularly stand out (probably because Hayashibara does such an amazing job), but they all play their roles well enough (to the extent that I wonder if they were merely typecasted).
OVERALL - All in all, despite not being anything really new and despite the presence of a few annoying predictabilities, Paprika is a very well done movie that I think both newcomers and long-time fans of Kon's work can enjoy, especially if you're a fan of the whole fantasy/reality theme like me. :3
ue6o7
Paprika, the last film of the late Satoshi Kon, is in a league of its own when compared to his other works—a league that is far, far below the rest. Satoshi Kon is, of course, a very talented director, and in that regard he still delivers for this film. The visuals are every bit as detailed as expected from him and his team, and the sheer amount of technical skill on display here is mind-blowing at times. Unfortunately, that's about where my praise for it ends. Satoshi Kon films typically take you on a psychological ride that explores its characters' inner thoughts in visually inventive ways.You might think that Paprika does this as well, as it would seem so at first, but the experience ends up feeling very flat by the end in spite of the film's wacky and colorful premise. The elaborate dream sequences only distract you from the fact that everything here operates on a very basic surface level. While that physiological element does exist to some extent in Paprika, it's relegated to the sidelines in favor of an uninteresting, superficial mystery plot about stolen technology featuring one-note, unlikable characters. I don't dislike this film for being confusing or for going "over my head" as they say; I dislike it for being astoundingly simple and straightforward. There's not much to explore and not much to think about after the film is over. Paprika delivers entertainment that's built to last for the moment and nothing more.
But, make no mistake: the entertainment that it does provide is still very much worth experiencing just for those immediate sensations alone. The soundtrack definitely deserves a mention, as it's pretty great and the recurring themes are very strong. As for the animation, the creators are able to get away with a lot because of the film's dream setting, and with that they're pretty creative. They must have spent a lot of time discussing what sorts of things tend to happen in dreams so that they could make those sequences feel genuinely relatable. Sometimes, though, the dream elements feel gimmicky and forced, like they were thrown in to remind the viewer that the characters are, indeed, in a dream; characters will dive into television screens and paintings to travel distances that would have probably been easier to walk across. Additionally, it feels like they miss a lot of opportunities to truly mess with the viewer's perception of reality, instead making it all too clear what's really going on most of the time.
Now, maybe Paprika just isn't trying to be some intelligent psychoanalytical film; that's fine. Maybe it could instead provide a nice cast of characters with great chemistry who drive the film forward, a la Tokyo Godfathers. However, Paprika fails to provide even that. The characters in Paprika range from underwhelming to outright irritating, with a few exceptions. Kosaku, in particular, is on the "punchable" side of the scale. This guy is unbelievably, impossibly, and disgustingly obese. It's played off like some kind of charming quality, and that perhaps it's what's on the inside that matters most—a touching sentiment, but unfortunately for Kosaku, he also happens to act like a literal child. Well, shit, I guess he's got no redeeming qualities no matter where you look. Did I mention that he has the most punchable face of any anime character ever?
Even Paprika herself, despite her gorgeous character design, is deceptively dull, much like the film. Going by the title and promotional art, you might be looking forward to seeing a film featuring her as the central character. That's why you'll be happy to learn that she actually spends the majority of the time replaced by her comparatively drab counterpart, Atsuko, and receives no development of her own. In fact, there's a ton of wasted potential when it comes to both of these characters, as it's never explored why Atsuko might take on this other form in the first place, and what this duality actually means for them. It ends up feeling like the only reason this "Paprika" alter ego exists is for eye candy and so that we can see a cool character battling dream monsters in trippy action scenes; if that was the intention, she at least succeeded in providing that. But, with Satoshi Kon, we've come to expect a deeper meaning behind every action, and in this film the action often takes place for its own sake, feeling a little too much like a Saturday morning cartoon.
That Saturday morning cartoon feel doesn't end there, though, as the worst of it comes from the film's villain—something that Kon's films have never featured this blatantly before, typically favoring inner conflicts over the external. This is a villain whose first lines consist of him robotically expressing his ideals, as if he'd been carefully scripting his own words, eager to recite them to the next person who'd walk into his room. By the end of the film, he'll crush your suspension of disbelief harder than any amount of surrealist dream imagery could by acting like a totally unreasonable cartoon bad guy: a comically insane person with maniacally evil plans who shouts like a baby when he doesn't get his way. To make things worse, we never learn why he feels the ways that he feels, making him an underwhelming character and a weak villain. I didn't even mention the similarly flawed supporting villain whose existence is entirely unnecessary and serves no greater purpose.
As previously stated, Paprika does still contain a bit of Satoshi Kon's signature psychological element, and that comes in the form of side character Toshimi's plot line. Unlike other characters in the film who only seem to be concerned for their job's sake, Toshimi actually has a strong personal investment in his own arc, as he takes the initiative to find answers to the questions that haunt his dreams. You grow to care about this guy because it actually feels like he cares, too. And, for once, the dream motif is used really well to give meaningful visuals to his inner psyche—the kinds of tangible things that can actually be pulled apart to learn more about a character. But, ultimately, the problem is that Toshimi's concerns are really only his alone. They don't mesh well with the main plot at all, and when the creators attempt to mash them together the results are questionable at best. He's left with nothing to do by the climax, becoming just another bystander watching the action unfold outside of his control, having no influence on the conclusion.
With most of the characters being as two-dimensional as they are, it's no surprise that the film's climax ends up being a thrown-together mess. Everything is resolved with actions that don't need to make too much sense, using the fact that dreams have become real as a crutch for the deus ex machina finale. There are attempts to salvage Atsuko's lack of development by introducing a romance plot that, while hinted at, feels more insulting than anything else. They were clearly and knowingly taking a risk with this particular pairing, but the necessary steps to pull it off correctly were not taken. At most, you could say that the creators were at least trying to invoke some real emotions for once, but I'd honestly rather they'd not at this point, especially when the results are this awkward.
I don't know exactly what went wrong with the making of this film to make it stand out in such a negative way. Considering Kon's otherwise excellent track record, perhaps it's the source material that's at fault; I wouldn't know. All I do know is that Paprika, as it exists in this film, is an overall emotionless endeavor that left me wondering what the point of it all was. Regardless, I do still have a lot of respect for Satoshi Kon; he's made his fair share of masterpieces, and his contributions to the anime industry won't be forgotten anytime soon, so I suppose he's earned the right to make a few mistakes. After all, it was his willingness to take risks that brought us such great films as Perfect Blue and Millennium Actress. You can see that Paprika was made with that same level of ambition; it was just bound to fail at some point.
Animeindian
We all are blessed with power of imagination, we all crave something unique, something powerful, we all crave of what cannot be achieved, we all want to touch what cannot be touch, we want to build something that has never been built, we all want to become immortal through our work, because that is who we are that is what makes us human. Imagination is a powerful tool that can change the world, bend reality, it can make us look really stupid or smart beyond imagination. Imagination is, however, a double-edged sword, It can be both bad or good, it can be organized or disorganized,it can win hearts for good of the world or for devastation, Imagination also has the power of illusion and trickery.
You want me to summarize paprika in one or two sentences? Take your dog, get some colors and a big paper, let that dog run along, let him dip himself in those colors and let him do whatever he wants with that paper, Done? good, now take that paper and try to sell it on street, did it sell? No? well paint yourself and make a name for yourself and then go to a gallery and display that painting your dog made, you will soon be acknowledged as the one greatest artist ever lived. That is in the nutshell is Paprika.
Why do directors exist? do they exist to enhance the story? or do they exist to show how good they are at directing? Should a director show off his skills while simultaneously trashing the story? Without a story, directors cannot exist and without director’s story can not be accessible. Directors job is to make the story his own and through his skill and hard work make it more effective and better. Just like music is useless without stealing listeners heart, just like an animation is useless without telling a story through animation, just like that, a director is useless without making story good and accessible. look at Erased, It is a bad story without actually any suspense, but good music, animation, and most importantly good direction make it better than the raw story. Director can make a bad story good with sheer skill. A director is a conductor of the orchestra, no matter how good instrumentalist are if conductor sucks then performance is going to suck.
Paprika is a mess of animation, it is a mess of music and it is a mess of characters. Paprika creates the illusion of complexity for the normal viewer who knows nothing of how illusions work, “movie feels complex so it must be good, It makes me feel smart if I like this complex movie” people with this kind of ideology may hop over it if they want to this post is not for them. There is a subtle difference between complex and complicated, complex things make sense and are enjoyable but complicated things are complicated for sake of being complicated they make no sense. Why in the end could Paprika swallow villain? why do the world of dreaming and real world merge? who the hell is Paprika anyway? Is she part of that scientist’s lady or a program? Why has villain so pitiful dream? It doesn’t make any sense. Well if someone says it shouldn’t make sense, that is the point, well then why to watch this movie, go to sleep and dream, I am sure you can have some wacky dreams, or just don’t clean you room for few month for you to not able to make sense of your room, can you live like that?
On one hand, the movie tries to be a sci-fi, on the other hand, it tries to a philosophical movie questioning that “should human interfere in nature?”. Paprika also tries to touch phycological aspect of human life but later to all boils down to an all powerful and purely evil villain trying to the destroyed world. Paprika changes subjects faster than politicians change their statements, it just makes it a horrible mess. All respect I had about Satoshi Kon has gone down the drain, I think Satoshi Kon just want to flash his skill without regards to consistency or story. Making a scene transition every few seconds doesn’t make you a good director, making a story shine like a sun will make you a good director. Most of the time simplicity is better than complexity and complexity is always better than complicated. See ya.
myronator
Paprika, Satoshi Kon's last film as a director, is commonly referred to as "Inception before Inception was made". With this kind of reputation, especially with the Kon name behind it, the expectations are going to be high when watching this movie. There is no doubt the technical aspects of this film will fulfill these expectations, however the story itself falls short. Paprika is surreal. From the opening credits, the film makes it clear that reality will be bent and twisted. This is where Satoshi Kon excels. Through the use of amazing scene transitions, the storytelling in Paprika keeps you guessing. These techniques work well in thefilm since Paprika is about the meshing of dreams and reality. This is the best part of the film and it deserves to be praised.
When it comes to the story itself, not much develops. Paprika, like Inception, is a thriller that doesn't explore its themes. The premise is interesting; an experimental device used to enter dreams goes missing and it's up to Dr Chiba to retrieve it before the thief is able to abuse the device's power. For the first half of the film the search for the thief is engaging. Once the antagonist is discovered, however, the story loses focus.
In the usual Kon style, the main theme of the film is about coming to terms with one's self. This theme is introduced early with the dual personality of the protagonist and the use of the DC Mini for psychiatric therapy. But it's never explored properly. Dr Chiba's character arc is weak with a random romance thrown in at the end and the antagonist is almost one dimensonal. The only character that appears to have a proper arc which fits in with the theme of the film is Konakawa. Due to the lack of character development and the themes of the film being unexplored, the impact of the narrative is lost. Similar to Paranoia Agent, Paprika attempts to create an epic, chaotic ending, however unlike Paranoia Agent, much less time is spent with the characters, hence this ending isn't successful.
Nevertheless, this film should not be dismissed due to the flaws in its plot. The imagery and sound in Paprika make it entertaining to watch. The character designs all feel realistic, while the imagery in the dream sequences portray all sorts of weird and bizarre creatures. The music accompanies each scene well, contributing to the surreal feeling in the dream sequences and improving on the action. This creates a nice contrast between the scenes in the real world and the scenes in dreams.
While this may not be Kon's strongest film, it is still worth watching. Anyone who enjoys science fiction or just trippy, surreal films in general will definitely find some enjoyment in this. But, this isn't a must watch for anime fans. There are better Kon films and better science fiction films out there to choose from. Sadly, we will never get to see if Kon could have improved from this film.
Lindle
Paprika is actually the only thing Satoshi Kon has directed that is adapted from another medium, but in true Kon fashion he makes it no less his then any of his works. The story, adapted from the novel of the same name, is essentially just a vehicle for a bizarre vision of Kon's, inspired by the music of Susumu Hirasawa (who, unsurprisingly, wrote the soundtrack for Paprika), to create a bizarre audiovisual experience akin to that of Yellow Submarine. Of course, Paprika is far from a feature length music video, which is hardly surprising given its origins as a novel. The plot revolves around a devicecalled the DC Mini, a device made by the eccentric, morbidly obese scientist Kosaku Tokita, that allows people to experience each other's dreams. However, the device is stolen, and starts being used to implant dreams in fully conscious people, causing them to go crazy. In effect, it's subconscious terrorism.
The characters in this film are of a surprisingly high quality. It's not often that a single film can make a particularly memorable character, but this is a feat that Paprika manages for every member of its cast. Every one of them is memorable and well fleshed-out, and no one character takes a back seat just for the sake of the lead getting focus. The main character, Atsuko Chiba, is an uptight, stoic businesswoman, but in her subconscious dreams she takes on an alter-ego, the titular Paprika, who is essentially the complete opposite of Chiba... quirky, vibrant, and fun-loving. Toshimi Konokawa is a detective who is an early patient of the DC Mini, who asks for Paprika's help in dealing with his nightmares of a murder case. Kosaku Tokita is the aforementioned morbidly obese scientist, a man with a childlike disposition that causes him to not think through the possible repercussions of his scientific advances. The wheelchair-bound chairman (I'm not sure if this pun was intentional or not) is a stern man who believes that dreams are sacred, and that science has taken a step too far.
One thing about this that's very much worth noting are the comparisons to recent blockbuster film Inception, and the claims that Inception ripped off Paprika. While there are some serious similarities that can be quite hard to chalk up to coincidence, most noticeably in the premise itself, and in a more specific instance the way certain characters are handled as well as a motif used to portray them (see the elevator scene in both films), neither film really comes off as worse for it. This is mostly because while the movies share similar themes, both go about it in completely different ways. While Inception runs with an airtight, professional system of rules and techniques that focus on the ways the dreams are hacked, and the ideas behind the titular technique of Inception, Paprika goes for a more surrealist, stream-of-consciousness style, blurring the lines between dreams and reality much like in previous Kon works like Paranoia Agent. As a result, while the argument that Inception ripped off Paprika does hold a fair amount of water, both films are still fantastic in their own right.
Going back to the subject of Susuma Hirasawa for a minute, his music is an absolutely perfect fit for Paprika, as it has been in previous Kon works. He's been compared to Danny Elfman in contrast to Kon's Tim Burton, in that the two of them, when working together, manage to create a bizarre marriage of music and animation, as seen in Paranoia Agent and Millennium Actress as well. Paprika, however, is probably the ultimate example, and is sadly the last, not counting the possibility of Hirasawa working on Kon's posthumous project The Dream Machine.
As for the other technical aspects, Madhouse deliver once again with the art. It's in the same style as Paranoia Agent, Millennium Actress and so on, and is produced to a high standard of fluid animation. The directing is unsurprisingly superb, blurring the lines of reality excellently, and creating fantastic, gleeful dreamscapes of derangedly cheerful imagery. The voice acting in the original Japanese is superb, bringing together numerous cast members of Evangelion again, and featuring a fantastic performance from Megumi Hayashibara as Chiba, and her alter-ego. The dub, while far from bad, doesn't really scale up. Cindy Robinson puts in a great performance as Paprika, but really can't cut it as her conscious counterpart Chiba. The rest of the cast, for the most part, seem very miscast. In fact, some of the performances in the dub are actually very good. In particular, Yuri Lowenthal's take on Tokita is absolutely dead-on. He captures many of the childlike nuances of his speech perfectly... and yet, his voice itself simply feels unfit to the role.
Overall, while mostly fantastic, Paprika does have a serious flaw. In its surrealism, it loses track of the plot. Whilst the plot is mostly strong, it can become more disorienting than simply bizarre, and especially towards the ending it loses track of what was happening in the plot. It seems quite strange that this would be the case, considering the source material... which may be worth checking out, if only to explain what happened in the ending. Even after numerous viewings, I honestly couldn't explain exactly what happened no matter how hard I tried.
Nonetheless, Paprika is something that absolutely has to be experienced because there is honestly nothing else quite like it. It's one of those rare anime that I would honestly recommend even to people who aren't anime fans. It's less in the vein of anime and more in the vein of surrealist films, but using animation in the perfect way to bring out the bizarre visions behind it.
Final Words: Whilst not quite perfect, it's an absolute sight to behold. An absolute must-see.
Animation/Graphics: 10/10
Story/Plot: 7/10
Music/Background: 10/10
English Dub: 6/10
Overall: 9/10
For Fans Of: Millennium Actress, Ghost In The Shell.
HokutoKnight
I wanted to love Paprika. Right from its opening scene, I was so enamored with its creative premise, and so taken with its jaw dropping animation, that I was certain that I’d be giving it a 9 or a 10. However, as the film went on, more and more flaws began to surface and in the end, beautiful as this film could be, no amount of bizarre imagery could truly obscure all the narrative problems that this film contained. Animation: 10 Sound: 9 The first point I have to make is that in terms of its sound and visuals, this film is a stunner. The mainstory line focuses on the use of a ‘DC mini’, a device that allows a person to enter the dreams of another. Paprika exploits its ‘dreamworld’ premise to the max in order to create some of the most eye popping, surreal and unique spectacles ever to grace the medium of anime. The soundtrack perfectly complements the visuals and builds the atmosphere of its world. From its whimsical opening track that plays while Paprika runs through the dream world, to the ominous tune that accompanies the parade, each track is perfect at sucking you into Paprika’s world.
Story: 2
Unfortunately, the music and visuals were the only thing that this film has going for it, because this film is all about style over substance and was dragged down by a poorly executed story.
The main story was supposed be a mystery thriller where the protagonists are forced to try and find and apprehend the dangerous thief who stole a DC Mini, but it was all over the place. It was full of clichés, plot twists that could be seen a mile away, character revelations that came out of nowhere and a romantic subplot that was so out of the blue, so ham handedly handled, and so implausible that it wins the award for being the most ludicrous pairing in any medium and yes, that include fanfiction. I am used to seeing awful pairings in films, but this one was so out of nowhere that it completely pulled me out of the story and left me stunned throughout the film’s climax.
It felt like it was trying to do too much in a short period of time, and sadly its detective Toshimi psychotherapy subplot (which is a problem in itself; a film with a complex plot and a 1 hour 30 run time does not have the time to expend on subplots) was more focused and engaging than its main storyline.
Characters: 2
All this brings me to the film’s other big problem: the bad, bad characters. With the exception of the detective, all of them were completely flat and one dimensional; the manchild inventor was little more than a tasteless fat joke, Torataro was the eccentric Doc Brown type scientist in its most derivative form, the antagonist was boring, while the Paprika/ Atsuko character was supposed to be a conflict between a cold superego and a carefree ID, but unfortunately it was not well executed. The conflict was only really alluded to in a few dismissive sentences from Atsuko, so when it came to the inevitable confrontation between the two it felt forced and out of nowhere.
The dialogue was also a problem, as it was trying too hard to be wacky whimsical and as a result just ended up sounding forced . Its a pity, because if this film focused on the cop subplot, and maybe explored the divide in Paprika/ Atsuko’s personality more effectively , then I would be able to give this film the score that it deserves.
Overall: 5
Beneath its stunning visuals, Paprika was sadly little more than a shallow, poorly executed mess. Yet in spite of its many shortcomings, this film has to be given credit. Even though Paprika failed in so many ways, the makers of this film obviously put a lot of effort into it and were willing to take risks and try something new. Personally, I would much rather watch a film that aimed high but missed the mark than see something safe and soulless with no higher aspirations than wringing money from the pockets of its target demographic.
Although the only way I’d ever watch this film again was with the sound muted and the OST playing continuously in the background, I don’t feel like I wasted my time watching it. I would definitely recommend checking out its amazing opening and its parade scenes on youtube and, If you’re the type of person who can look past its diabolical execution and enjoy it for its gorgeous spectacle, then I whole heartedly recommend giving this a film a watch and seeing what you think for yourself.
literaturenerd
Overview: Paprika was the final movie released by the great Satoshi Kon. This is a movie that everyone should see at least once, but not everyone will necessarily enjoy it. Paprika is a VERY surrealist movie that combines elements of science fiction with art-house cinema. Although Christopher Nolan admitted to lifting plot elements from Paprika to create Inception, Paprika is less like Inception and far more like Kubrick's 2001 or Tarkovsky's science fiction films Stalker and Solaris. I say Paprika is much more like the latter 3 films because the focus is NOT on action and being an enjoyable "popcorn movie". The emphasis is onotherworldly visuals, human psychology, and using surrealism as a vehicle to ask rather profound philosophical questions. Paprika is a very cerebral movie and to fully appreciate it, you may even have to watch it more than once. The trippy visuals come so fast and furious that it is easy to miss key details in its rather complex and convoluted plot. This is one of those classic "What the FUCK did I just watch?!" kind of movies. Paprika is one of those movies that you actually have to watch without constant distractions and chatting to other people. It isn't what I would consider "light" viewing in other words.
Plot: 8/10
Minor spoilers!
The plot is that in the future a machine is created that allows people to see into other people's dreams and project themselves into that person's dream. This machine is used by psychologists to resolve internal conflict and often shed light on subconscious problems that the patient is suffering. This of course was inspired by Freud's theory that dreams are the gateway to the subconscious mind and act as symbolic wish fulfillment of the desires we are unaware we have. However, someone starts sabotaging the project, apparently out of a desire to protect the sanctity of dreams from the prying eyes of men. Dreams are one of the last places we can escape without being viewed and judged after all. Then all hell breaks loose and the machine starts merging reality with the dream world for...some reason. Paprika is so surreal it makes End of Evangelion look tame by comparison! This is Eraser head level insanity. Ultimately the villain and his true motives are revealed and the plot is resolved with a surprisingly mundane ending. It is quite the journey to get there though. The idea of using dream invasion as a form of therapy and changing the way a person thinks is a very interesting concept. However, Paprika is more than just a high concept piece revolving around a single cool idea. It is the use of classic psychological theory, engaging characters, and tendency to NOT hold the audience's hand that took it from merely a good film to a truly great film.
Characters: 8/10
The main character is the psychiatrist Dr. Atsuko Chiba, who wishes to use the machine to help her patients even though it is not exactly legal at this early stage of testing. She is a strong willed protagonist who doesn't succumb to the usual cliches and traits that leading women in anime too often suffer from. Chiba's alternate persona is the more light and playful Paprika, whose form she takes when she is in the dream world. Paprika is in many ways a polar opposite of the cold and introverted Chiba, which of course is referencing Jung's archetype of the the Shadow. Paprika is cheerful and bubbly because she is everything that Chiba has repressed to pursue a career as a doctor/scientist and be taken seriously in a highly patriarchal society. Paprika represents the hidden aspects of Chiba that she has rejected and stored away. The other main character is Kosaku Tokita, who is an obese manchild that is also perhaps the world's most brilliant scientist. He is often treated poorly despite his intelligence and represents how every geek fears that society views them. However, Tokita develops as a character along with Chiba and isn't simply there to be a boring stereotype. Paprika is too good a movie for that to be the case.
Art: 10/10
Although the plot, characters, and psychology is very well done, Paprika is perhaps above all else a visual experience. Paprika was originally a novel, but watching the film is very different from reading the novel. Sometimes being animated is a great disadvantage, because people will take a serious live action film FAR more seriously than an animated version of the same film. However, there are some advantages that animation gives and Paprika is one of few anime that fully exploits all that animation has to offer when it comes to conjuring up nightmarish imagery and frenzied insanity, bursting at the seams with energy and sheer chaos.
Overall: 9/10
Paprika is a film that really isn't like too many other films I can think of. It does bare a resemblance as I mentioned earlier to other brainy, science fiction/art films, but how many of those are animated? Paprika is a unique enough film and good enough film to warrant the label of "essential viewing for all film lovers".
PirateKingz
Understanding is overrated. Incomprehensibility is the new clarity, and contradictions are the new consistency. Confused? Good, so am I. Some stories can only be enjoyed through understanding, while others must be enjoyed through experiencing. Paprika, for one, firmly falls in the second category. Comprehending Paprika on an intellectual level is comparable to nailing Jell-O to a wall: the harder a person tries, the more hopelessly confused he’ll become. Those familiar with Satoshi Kon’s other works (particularly Perfect Blue and Millennium Actress) should already be well acquainted with this visceral style of storytelling. Put simply, Kon’s trademark style has always been to set up his film with aninteresting, easily understandable premise. From there, however, his films transcend into delightfully illogical chaos. One can try to connect isolated scenes from his films into a linear, understandable narrative, but the result only serves to sidestep the director’s true intentions.
Paprika is no exception to this. Despite its engaging premise, the movie’s literal events become as intellectually inscrutable as a Teletubbies episode. Paprika falls mid-flight in its execution of the plot. Caught in a web of its own reverie, the film loses coherence as its travels down a pipe dream of its own construction. Although it succeeds in whisking the viewer away to an abstract landscape, several questions raised throughout the film are left unanswered.
The animation serves as a key component to the storyline. Much of the film revolves around the dream world, and Paprika’s visuals beautifully flesh the characters’ dreams out in a way that only an animated film could do justice. The importance of the animation further deepens later on as the border between reality and hallucination becomes less and less indistinct. In the movie’s own way, Paprika is able to show this gradual merging (and the subsequent chaos) vividly.
In terms of visuals, Paprika is nothing short of pure artistry. Every screenshot moves like a living painting and each scene is seared into the brain. Whimsical, and bizarre, Paprika is a feast for the eyes with its parade frenzy of drumming frogs, eerie dolls, and marching appliances. As the line between reality and fantasy is blurred, Paprika becomes a virtual bridge between the two polar worlds. These transition sequences are seamless and beautiful, altogether creating an imaginative flow of symbols and metaphors.
Composed entirely by Susumu Hirasawa, Paprika’s soundtrack consists of synthesized hyper-ballads, Vietnamese chanting, and electronic techno beats. In other words, it is the perfect soundscape for the hallucinogenic imagery offered in Paprika. Every electronic powered track is spell-binding and creates excellent pacing that drives the animation sequences along with full force. Notably, the film is unique in that it utilizes Vocaloid samples for its soundtrack, creating a mechanical yet organically exotic feel to the tracks.
Sadly, most of Paprika’s colorful cast is lacking in character development and depth. The main villain, although painfully obvious, had no bona fide motive for his malicious actions and scarcely had any progression. Similarly, side characters were extraneous and unnecessary, especially detective Konakawa whose actions served no purpose other than to move the plot along. Although the shy, plump scientist Dr. Tokita played a larger role in the film, his character lacked some much needed development. As a result, most of Paprika’s cardboard cutout characters served as devices to force feed the plot rather than draw us into the beautiful world it created.
There is a glimpse of depth within Paprika herself, and her second self Chiba is just as interesting. The contrast between the charming Paprika and the icy Dr. Chiba is the most alluring aspect of her complex character. Despite this appeal, the film sadly fails to explore it enough. Chiba’s multiple personality disorder is too perfect of an opportunity to neglect, and her own psychological struggles should have been a pillar of the film’s plot.
Words fail to describe the visual splendor and terror of the film’s journey into the subconscious mind. Some are going to try to push Paprika as a complex and intricately plotted intellectual exercise, while others will deride it as nothing more than a little eye-candy. In my view, the show is neither of these. The film’s entity is a dream in itself — an event to be experienced, rather than understood.
Captain_Albania
Yo thiss shit was lowkey asssssssssssssssssssss. Me and my buds watched this together and my one friend liked it a lot and said we were dumb for not getting it so it made me lowkey hate it even more. This movie madeno sence and my boy Patrick said I was dumb for not understanding so again points off for that it really hurt my feelings a lot a lot. Skibidi rizz if you know what I mean. FUCK PAPRIKA SOOOO SOOOO SOOO MUCH SO BAD! Paprika was like watching a season finale but you skipped the beginning. I drank a gatorade and a water whileI watched then played some good ole pool.
simplereviewer
Script - A group of sherlockian scientists are searching for a stolen macguffin technopiece that allows them to enter in patients' dreams. There's also a traumatized detective whose purpose besides participating in the artistic opening is to save the protagonist afterwards and have his struggle solved in a simplistic way because the movie was almost at the end. The antagonist is a one-dimensional anti-science old man who doesn't waste any opportunity of exposing his ideology and that also wants to merge reality with dreams because he's crazy. The heroes investigate until getting to the conclusion that was obvious to us from the start of theshow, and after facing some real weird quasi-apocalyptical shit the protagonist defeats the villain, and they lived happily ever after. It's quite surprising that such a symbolic plot is so predictable. Don't be tense, because no problem is left unsolved and bad guys lose because good guys win. Also, accept your naughty side and assume your love for that stupidly fat man-child in one minute or less because that's the only way you'll be able to defeat the megalomaniac vile scarecrow who wants to destroy everything because yes.
Cinematography - Good animation, very detailed scenarios inside dreams and that's it. If you like psychedelic nonsensical visuals, go for it. The character design is fine, nothing special about anything besides the effort put into it. No relation to the plot and the meaning of such visuals starts and ends in itself.
Sound - The old scientist sounds like any old scientist you'll see in anime, the protagonist seems dead, the villain sounds like the villain since he opens his mouth, the fat dude has annoying man-child voice and the detective has a hoarse voice just like that one from Paranoia Agent. The voices don't convey anything, no fear, no concern, no shit. The soundtrack is very good, composed by that guy from Berserk and Millennium Actress, you know him. It's cool.
1234 - Merging reality and dreams because of some machine and destroying several buildings for the evulz. Paprika exists as a manifestation of the protagonist's other side but it's never explained how she leaked out from the machine, she just exists outside of it and you deal with it. The bad guy enters in a hole in the ground and becomes a monster because yes. He hates technology wanting to enter in dreams, so he uses technology to merge both dreams and reality because yes. The romance out of nowhere because she's in love and love has no reason guys. Because the villain is a man and Paprika is a woman she sucks him, I guess it's not something chauvinistic. What happened to the city afterwards? Fuck that, I want to see both detective and old scientist talking about shit I don't care about, oh yes.
Are you a visual fag? Do you wanna see crazy shit that doesn't owe you explanations whatsoever? Go for Paprika. Wanna see something actually good from this amazing director called Satoshi Kon? Watch all of his movies, except Paprika. Also, RIP Kon, you did your best mate.
thotian
This movie dazzles with high-quality graphics: great animation and charadesign. The main theme of dreaming is perfectly highlighted thanks to a rich color palette and a musical environment which perfectly fit. It's all about dreaming. The dreams are seen as an escape to the constraints of reality which reach their maximum in big cities like Tokyo for instance; gathering more and more people, and forgetting them sometimes (cf. Tokyo Godfather), with their dreams too. These forgotten dreams are represented in the movie by this psychedelic parade processing to who knows what destination. Every character of the story are associated with particular constraints: having lost one's legs (thepresident of the research center), not moving easily because of one's overweight (the genius Tokita), not being able to free oneself from inner demons (the policeman), every time suppressing ones own feelings (Atsuko). What would occur then if the dreams of oppressing beings became true. We would assist to a huge surge of nonsense, a multicolor mixture of everyone's dreams and phantasms. The end of the movie may be a bit hasty, but aren't all the dreams ending like that?
Satoshi Kon gives here a wonderful work in all respects, both in the technical and figurative processes.
Kynarr
Appalling. This was the first word I thought of while watching Paprika. It's a good thing there is a rating made specifically for this word. Is there a line to be drawn where an artistic work simply should not exist? If anything comes close to crossing that line, it might just be Paprika. Though it's made by a great studio, with good animation and flamboyant drawings, sitting through over an hour of some of the most grotesque works ever produced is at best painful. I've taken a hard look at the reviews. The critical few maintain that the story is meaningless, that the characters are worthless, but thatthis is sort of redeemed thanks to the production quality and refreshing bizarrerie.
Those giving Paprika a high rating often agree they barely enjoy the movie, but feel it *deserves* a high rating due to its uniqueness, and the fact it's produced by a renown director.
I care very little for this. I care about enjoyment. Or in any way having the feeling an experience is at least worth going through. Though I didn't enjoy Perfect Blue very much, I agreed it had many qualities. Paprika has none.
This is very possibly the worst piece of animation I've ever watched. Avoid.
ace52387
The general lack of cohesiveness in Paprika`s story is usually enough to ruin most movies; make them disaffecting. The premise alone, a scientific breakthrough that threatens humanity in a practical and spiritual way is kind of tired. Who hasn`t seen terminator or the matrix? The disappointingly nonsensical climax and the general lack of inspiration in the plot, evidenced by its contrived and predictable plot twist, doesn`t help its case. Paprika makes a few social observations, but calling it insightful would be a bit of an exaggeration. There are a couple of nods to the ills of society, from shut ins to greedy politicians. There are acouple of one liners that hypothesize about the nature of dreams, all of which you can easily dismiss with a wiki search on the subject or a psych 101 book. To be fair, the social commentary is a small part of the movie, and you`re never bogged down with long, faux-science/philosophy discussions on dreams or the flaws of humanity. Thankfully, they`re short.
The soundtrack is most simply described by the word "hectic". The opening piece sounds a bit like techno, but there are all kinds of instruments and chants in the background. It`s reminiscent of the opening theme from Paranoia Agent (and I believe they`re done by the same artist). Lively pieces like this are sparsely scattered about, along with equally hectic tracks that seem to be inspired by circus music. You know, with cymbals and percussions blasting all over the place. There`s also liberal usage of nonsense sounds like ringing, or a fuzzy, static-y noise, which add a little creepiness to the scenes. The soundtrack of Paprika is certainly noticeable, and it fits with the vibrant and beautiful animation in such a way that every scene the soundtrack touches, it elevates.
While a satisfying and engrossing story is usually what makes a film memorable, in Paprika`s case, it doesn`t need to be more than the sum of its parts. Paprika is filled with several memorable scenes that evoke a wide range of emotions. The protagonist`s travels through the dreams of others is filled with innocent and whimsical charm. The childlike imagination pervades the whole movie, but while it is cute in some instances, the same seemingly innocent themes and images can be chilling in others.
The negatives with Paprika start with its story. There is a romantic element and a mystery surrounding a side character`s past that function as subplots. The problem is, both of these subplots are never worked into the movie smoothly because they have very little relation to the central story. It`s jarring and awkward whenever the movie seemingly comes to a halt in order to develop either of these elements. I can`t say that they aren`t interesting though. It`s a sad fact, but the central plot is just so devoid of creativity that these subplots happen to be the most interesting parts of the story. Paprika`s story is not only simple, in a very "been there, done that" sort of way, but it fumbles the climax as well. Beyond the fact that the climactic events are a bit nonsensical, there`s just never any urgency, or tension conveyed.
My criticism of Paprika finishes with its characters. The only vaguely nuanced character is the main character, Chiba, and her alter ego after whom the movie is named. The other characters are there for little reason other than spouting supposedly thought provoking dialogue and monologues. This is especially bothersome because the main villain is also just a lecture machine. Supporting characters are usually simple in any movie, but they are particularly disaffecting here because their relationships with each other have very little depth. This means there`s very little tension of any sort between characters. Even the romance feels slapped on because throughout the movie, there was no romantic tension to speak of between the two characters involved.
As much as I`m complaining about it, I was still touched by the one romantic scene. This is exactly why all the flaws of Paprika can be overlooked. Despite the lack of tension built up by the plot or characters, the scenes themselves, given that most of the movie takes place within dreams, are limited only by the imagination of the creators. There is all kinds of creativity in the scene direction and plenty of details to pique so many different emotions; from a skincrawling kind of discomfort to the warm and fuzzies of romance. Ultimately, this makes Paprika enjoyable, perhaps even memorable.
PerAxelH
Paprika, the definition of drugs! I haven't seen such a wonderful, hyped, fast-paced, well written movie since the anime movie "Redline". I'm in eternal awe for you Satoshi Kon! Paprika is everything except bad. In a future soon to come, a revolutionary product for psychotherapy treatment called PT has been invented by a Fatso called Tokita. Tokita made a device called the "DC Mini", through it you can enter into people's dreams and explore their deepest thoughts. Before they can authorize the DC Mini, one of their prototypes is stolen, making the research team and the entire facility go bananas. In the wrong hands, the misuse of this device could be devastating,allowing the user to completely destroy another persons (Dreamer) personality while they are in sleep.
Dr. Atsuko Chiba, a returning scientist, enters the dream world under her alter ego name "Paprika", in a mission to discover who is behind the crazy idea of sapping their new revolutionizing invention.
Every character in Paprika has great personality, something you remember, everyone has their dream.
It's magnificent, is it a persons dream or not? It's their personality and thoughts put on screen. Maybe a part of another ones dream.
This film goes full surrealism mode and makes me as a viewer very confused at times, but still aware of what's happening on screen, a urge to jump of happiness as a colorful parade of toys and animals are marching through the streets of the city like a colorful stream bursting through my mind.
A film as trippy and mind-fucking like Paprika is needs fitting soundtracks. That's another great thing about this one, the songs and OST couldn't be more fitting and energized.
What's better than a fast drummer and a female vocalist in the backround? When our main character is falling through the sky at top speed, nothing beats that. It makes the viewers shit themselves of excitement!
The visuals are absolutely stunning and the amount of detail in some of the scenes are astounding. Not to mention the edit, that would be a crime for sure. The edit is truly stunning, without the good edit this movie wouldn't be what it is. I had to guess so many times, about what was going on because you couldn't know if a character stepped out of a dream or into another. Leaving that to the viewer to find out is great.
You create your own legit thought of what's going on.
Kon stated that female characters were easier to write because he would'nt be able to know the character in the same way as a male one.
I would say that he succeeded with his characters in Paprika, and i couldn't be more grateful.
As much as i like Satoshi Kon's other films i have to say that Paprika surpassed the hype with it's thrilling and excellent written plot.
I want to dedicate this review to Satoshi Kon himself.
Rest in peace.
sliceofpi
I want to start this by saying that I am a big fan of two of Satoshi Kon’s other works, Paranoia Agent and Perfect Blue. I watched those two before watching Paprika, so it isn’t the blend of delusion v.s reality that makes me dislike this anime. Really, it’s everything else. (spoiler free) Story - 5 What story? Sorry but this anime was so boring that I forgot what the main objective even was. It takes so many weird turns and doesn’t stick to a firm plot. The concept isn’t even that interesting and it’s definitely not exciting to watch. Art - 7 I’m never too picky withart, but the color scheme in Paprika is a little too orange and bright in my opinion. I prefer the simple, neutral colors present in Paranoia Agent.
Sound - 7
The only sound that was catchy was the track used for the parade thing. And even that wasn’t the best I’ve heard, however, it was pretty catchy when used.
Characters - 3
What characters? Yeah, sorry to pull that again, but the characters are so forgettable and basic. I didn’t even grow a liking to any of them, therefore I didn’t really care what would happen to them. Even the character who has their name as the title of the movie (Paprika) is incredibly boring, and isn’t even present much through most of the anime. It’s shocking to me, as Satoshi Kon has been great with characters in the past. Paranoia Agent, for example, had some characters that were only present for one 20 minute episode, yet they are much more fleshed out than the characters who are present throughout this 1.5 hour movie. Another problem is the lack of character development. By the end of the movie, I could think of one character that might have changed a little. That’s it. One of the characters had a pretty bogus and unexplained change, so I wouldn’t call that character development. How am I supposed to be attached to the characters if they start out boring and end just as boring?
Enjoyment - 3
I can’t enjoy an anime when boring characters and put in boring story. It was hard to follow and overall didn’t have much of a meaning besides “your dreams can say something about you”, which isn’t explored that well.
Overall - 4
This is the worst work I have seen do Satoshi Kon. I’m not even sure how it can be classified as psychological or horror. Paprika is nothing compared to the terrifying Perfect Blue.
TLDR: If you are looking for a psychological horror, watch Paranoia Agent or Perfect Blue, they are from the same director but a thousand times better! If you like the concept of traveling through dreams, watch Inception!
