Paprika

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. (23/02/2013)

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. (27/11/2012)

The dream-like atmosphere is captured with (in)credible precision. Above all atmosphere is the best this piece can offer, because everything else is actually pretty regular. It’s a shame, that Paprika shoots almost all of it’s big guns in the phenomenal opening sequence and after that, it doesn’t come up with anything nearly as impressive. When you take into account how much more could be get out of the topic-matter, then the result seems a bit incomplete. But still it’s enough to make it an unusual and interesting experience. And all it would have taken is to drop that “ultra-villain" cliché, loosen the bridle on the imagination a bit more and then… Then the result could be one level better, especially with regard to the original book, which this adaptation, although similar in storyline, doesn’t have much in common with. Which is a shame specifically because it doesn’t suffer from the same flaws listed above. Although it’s true that the book doesn’t do so well at capturing the specific surreal reality of dreaming. (13/10/2007)

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. (13/03/2010)

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. (07/07/2015)