Directed by:
Satoshi KonCinematography:
Michiya KatouComposer:
Susumu HirasawaCast:
Megumi Hayashibara, Akio Ōtsuka, Hideyuki Tanaka, Kōichi Yamadera, Mitsuo Iwata, Satoshi Kon, Yasutaka Tsutsui, Daisuke Sakaguchi, 愛河里花子, Anri Katsu (more)VOD (1)
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Prepare to enter the realm of fantasy and imagination - where reality and dreams collide in a kaleidoscopic mindscape of sheer visual genius. The magical tale centres on a revolutionary machine that allows scientists to enter and record a subject’s dream. After being stolen, a fearless detective and brilliant therapist join forces to recover the device - before it falls into the hands of a “dream terrorist” in this gripping anime thriller from acclaimed director, Satoshi Kon. (Umbrella Entertainment)
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Reviews (8)
Exactly according to the classic routine of Japanese anime; beautiful animation that gets repetitive at times and a story that is so interesting that it gets too complicated. But it’s definitely a movie worth watching and thinking about. But not to be too critical, I must say that the finale was excellent and the music was also very nice. Above-standard for a Japanese anime…
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Satoshi Kon created a machine worked out to the smallest detail in terms of animation, content and dramaturgy, and which towers high above other feature-length anime films, and not only those from the same year. In many respects, this sophisticatedly superficial thriller, which inundates and fully occupies the mind and the eyes for an hour and a half, is also the pinnacle of Kon’s filmography. His previous works are partially echoed in many of the plot and style motifs of Paprika, which can thus be fittingly described as the culmination of Kon’s creative career so far. We can only regret the fact that it remains his last completed work.
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Another beautiful example that the Japanese can create serious and interesting films with deep thoughts, all while being animated. No one else can do it as well as they do, as if the world still believes that animation is primarily for children. The Japanese are carrying that flag bravely and firmly, and thankfully others are joining them.
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Satoshi Kon's problem with Paprika is mainly that he's envious of his audience's work, so like a sulking little child he decides he's just going to get something out of it too and starts fiddling with the script. A script that, while appearing genuinely complex and Inception-like, helps itself move the plot along with basic screenwriting crutches (deus ex machina, lack of causality, terrible coincidences), which it masks with anarchic visuals and a theme of "where anything is possible". He simply decided to enjoy limitless dreaminess in his own way. The problem, then, may be for the viewer who approaches Paprika primarily as a film. On the other hand, he admits it himself; for example, the lines with the detective at the dawn of the big city, kissing a comely victim while clutching a six-shooter in the other hand are not just bullshit for the audience, but a real deliberate cathartic element. "We’ve got to go. The happy ending is getting closer." PS: Anyone who didn't sing at the end credits is a moron.
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Huh? It’s over already? That went by fast! Confusion? But even dreams have meaning sometimes, don't they? You just have to find it :-) A good film, with good accompaniment, characters and "story". But I feel a bit like something was kept from us. It's a strange film, but Kon doesn't make any other kind -_^ It's a bit hard to judge, but you'll definitely get some impression, some experience, some feeling from it.
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Gallery (31)
Photo © Sony Pictures Classics
![Paprika - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/160/151/160151721_ab107e.jpg)
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