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Movie Review | 'Paprika'

In a Crowded Anime Dreamscape, a Mysterious Pixie

By Manohla Dargis

• May 25, 2007

In “Paprika,” a gorgeous riot of future-shock ideas and brightly animated imagery, the doors of perception never close. A mind-twisting, eye-tickling wonder, this anime from the Japanese director Satoshi Kon bears little relation to the greasy, sticky kid stuff that Hollywood churns out, those fatuous fables with wisecracking woodland creatures selling lessons in how to be a good child so you can grow up to be a good citizen. Model behavior isn’t on the menu in “Paprika,” and neither are dinky songs and visuals. Here, when a woman sprouts a pair of wings, she doesn’t only flit about like Tinker Bell; she’s also pinned captive to a table, a man’s hand slithering under her skin.

If this doesn’t sound like your childhood animated flick, it isn’t. But neither is it Ralph Bakshi, the guy who tried to make cartoon movies grow up in the 1970s by way of Fritz the Cat. It’s old news that the great Japanese director Hayao Miyazaki has done his part to steer animation away from Disney-influenced juvenilia, but in the past decade or so, directors like Mamoru Oshii (notably with the virtuosic “Ghost in the Shell 2: Innocence”) and Mr. Kon have pushed animation film hard into more overtly adult realms. Like the “Ghost in the Shell” animes, “Paprika” explores that intersection between the human and the machine, including the lands of enchantment you can travel to when you plug in, boot up and drop out.

Based on a novel by the Japanese author Yasutaka Tsutsui, and written by Mr. Kon and Seishi Minakami, the dense, rather overly plotted story hinges on a nifty little gadget called the DC Mini, an experimental therapeutic device a psychiatric institute has developed to tap into patient dreams. This dream machine shows enormous promise — and obvious dangers — but several have gone missing, as has one institute employee. Most of “Paprika” concerns the search for the errant DC Minis and the employee, an endeavor that consumes the institute’s resident attraction, Dr. Atsuko Chiba (voiced by Megumi Hayashibara); her brainiac colleague Dr. Kosaku Tokita (Toru Furuya), a mountainous blob of a man and the inventor of the DC Mini; and the troll-like Dr. Torataro Shima, a k a the Chief (Katsunosuke Hori).

There’s more, including Toshimi Konakawa (Akio Ohtsuka), a detective with a comic-book flat-top and the kind of broad shoulders that tend to carry a world of troubles. Called in to investigate the scene by the Chief, an old friend, Konakawa comes equipped with his own alternative realities, namely a recurring nightmare set in a circus in which every performer and spectator resembles him, and a persistent dream that looks like a greatest-hits reel from big-screen entertainments. In this headily conceptual, gracefully edited interlude, Konakawa swings through a jungle on a vine like Tarzan, loincloth and all, only to end up tussling with a man in a genre thriller, inspiring one of the film’s most poignant philosophical riddles: Where do the movies end and our dreams begin?

Dr. Chiba and Konakawa each chase the wayward DC Minis down different paths. The detective starts visiting an Internet site that leads him deep into curious dominions where he revisits scenes from his distant and recent past, while Dr. Chiba infiltrates other people’s dreams by way of a DC Mini. In one of these reveries, she visits a near-deserted amusement park where an encounter with a chubby-cheeked doll nearly ends with her death. In time, the barriers separating the real and the imaginary dissolve like paper in water, as Dr. Chiba, Konakawa and a spritelike woman called Paprika — who springs into view whenever Dr. Chiba happens to be around — slip deeper into their substitute realities.

That sounds complicated and it is, a bit. That said, if you keep your eye on the screen and don’t overworry the plot particulars, you will be rewarded with a cavalcade of charming, gently outré and beautiful hallucinations. In “Paprika,” Mr. Kon bombards us with popping visual delights, including a dementedly cheery parade of inanimate objects in which household appliances, drumming frogs, beckoning cats, grinning dolls and even a red Shinto gate march in lockstep, sucking up human passers-by along the way. It can take a moment to situate yourself amid this splendidly controlled chaos. But this superabundance works to one of the film’s themes, namely that our fantasies, including those opened up by the Internet, are pulling us away from the material world and, perhaps, more dangerously from one another.

There’s something sinister about the dreamscapes in “Paprika,” fluidly rendered in both hand-drawn and 3-D animation, which may seem peculiar for moviegoers used to more benign animated fantasies. For all its gaudy glories, the film buzzes with a sense of unease about the rapidly changing relationship between our physical selves and our machines, a topic that Mr. Kon engages with as much sophistication as writers like Neal Stephenson and Michel Houellebecq, if rather more brevity. This anxious hum doesn’t dilute the delight of watching Paprika jump from one representation to another — from a pane of glass into an image on a T-shirt — but it invests this film with a fascinating tension. Mr. Kon shows us the dark side of the imaginative world in “Paprika” that he himself has perceptively brightened.

“Paprika” is rated R (Under 17 requires accompanying parent or adult guardian). It contains a sexual assault, naked animated breasts, maniacally grinning dolls and various leaps into the void.

Screen Rant

Paprika retro review: classic anime film goes beyond the hollywood movies it inspired.

Paprika is one-of-a-kind, with a beautiful yet surreal style that make it more than just an anime version of a Hollywood thriller.

Paprika contains scenes with sexual content.

Originally based on a book written in 1993, the 2006 anime film Paprika could be written off as an anime version of Inception . It's worth noting, however, that Satoshi Kon's film predates Inception by four years, and the original book predates it by over a decade. There are superficial similarities between the two plots, due to involving machines meant to influence people's subconscious through their dreams. Paprika is a one-of-a-kind experience, with a beautiful yet surreal style that make it so much more than just an anime version of a Hollywood movie.

Paprika 's director Satoshi Kon was never quite as popular or well-known as Studio Ghibli's Hayao Miyazaki, especially outside Japan. However, the films that Kon directed including Perfect Blue , Millennium Actress , and Tokyo Godfathers have all been widely acclaimed by critics and audiences alike. Kon also directed the anime series Paranoia Agent , and the 1993 anime adaptation of Jojo's Bizarre Adventure . Paprika was the last movie Kon completed before his unexpected death from pancreatic cancer in 2010.

Paprika Is A Parade For The Sense

To briefly summarize Paprika , Dr. Atsuko Chiba uses a machine called the DC Mini to treat her patients by entering their dreams with a digital avatar named Paprika. It soon becomes apparent to Dr. Chiba and her team that someone is using the DC Mini to enter the dreams of others to influence their minds with malicious intent. Chiba and her team investigate in both dreams and the real world as dreams begin to spill into reality. At its core, Paprika is a mystery, but embraces the unique artistic opportunities of its dream-laden premise to put an utterly unique spin on the mystery concept.

It's thematically appropriate that one of the recurring songs in Paprika 's soundtrack is called "Parade", as one of the major scenes involves a literal parade of bizarre dream figures spilling over into the real world, and because Paprika overall feels like a constant forward march of images and sounds. It can be overwhelming and disorienting – but that's the whole point. Satoshi Kon became famous for the visual style used in Paprika , and the film is a perfect demonstration of his talent for art direction and animation. Kon fully embraces the opportunity for surreal and bizarre imagery and animation afforded by a story driven by dreams spilling over into the real world.

Paprika isn't necessarily a scary movie, but many of the dream sequences are genuinely unsettling. The animation, art direction, and use of sound in these scenes expertly establishes to audiences that something isn't quite right, slowly building up to the reveal of how exactly the dreams and reality are merging. Dream sequences naturally lent themselves to the Uncanny Valley principle of things that look almost but not quite fully human being especially unsettling, and Kon's art style commits fully to making the most of that. Still, Paprika does mitigate the frequent aura of eerie uncanniness with genuinely funny jokes and visual gags.

Paprika's Soundtrack Perfectly Compliments Its Story

Experimental musician Susumu Hirasawa has released 17 albums of his own, along with a comparable number of anime soundtracks. Western anime fans will likely know him for his work on the anime adaptations of Berserk . Hirasawa previously provided the soundtrack for Kon's other film Millennium Actress and for his anime series Paranoia Agent. It's a perfect match. Kon's films are known for their unique, surreal art style, and Hirasawa's musical style is so unique that it involves playing several instruments he built himself from scratch.

Although Hirasawa's entire soundtrack for Paprika is fantastic, there are two standout tracks, "Parade" and "The Girl in Byakkoya". The catchy but creepy "Parade" plays during various key moments in the film, as well as on the Blu-ray version's menu, which gives viewers the perfect demonstrate of what they're getting into. "The Girl in Byakkoya" isn't necessarily any less surreal than "Parade", but is a lot softer and gentler and serves as Paprika's theme song during the opening credit sequence. Hirasawa's soundtrack stands out as one of the best in anime . The music fits with Kon's art perfectly and the sound and visuals combine to Paprika both truly beautiful and bewilderingly surreal.

Paprika Can Be Too Weird For Its Own Good

Paprika is a fantastic anime movie . Even so, it's not entirely without its flaws. As undeniably stylish as it is, sometimes, those stylistic choices get in their own way. Deliberately presented as surreal as possible, the dream sequences naturally don't operate on real-world logic, featuring a lot of quick camera cuts and sudden jumps in visual esthetic. Especially during a first viewing, it can be hard to keep track of what exactly is happening and what exactly the visual metaphors are supposed to represent. Of course, that just encourages repeated viewings, and Paprika is definitely worth watching more than once.

One of the most common complaints about Paprika from the audience is the film's inclusion of a romance angle that feels tacked-on, largely inconsequential, and isn't presented with the build-up it deserves. The criticism isn't unwarranted, but the romance angle is innocuous enough that it doesn't really have much impact on the rest of the movie for good or bad. It is clumsy, but it's also pretty easy to ignore. It's certainly not enough to hold Paprika back from being a classic.

With Satoshi Kon's unique art style and directing fully embracing the visual possibilities of the dreamscape and a unique soundtrack by Susumu Hirasawa perfectly suited to the animation, Paprika has deservedly gone down as a classic of feature-length anime films . Although the premise has inspired later movies like Inception , Paprika remains so utterly unique that it really can't be compared to anything else. Despite the superficial similarities, Paprika 's unique qualities make it so much more than just an anime version of a Hollywood movie.

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Common sense media reviewers.

Gore, sexual assault, trauma in intense anime classic.

A Lot or a Little?

What you will—and won't—find in this movie.

Be ethically aware and concerned when developing n

Dr. Atsuko is a smart and capable lead who has an

The film and cast are Japanese. The lead is a char

Some violent images and moments of sexual aggressi

A woman is shown nude when pinned to a table, and

Language includes "fatso" and "slob."

Adults sometimes smoke cigarettes and drink alcoho

Parents need to know that Paprika is a Japanese animated dramatic thriller that's not for kids. There are moments of violence, sexual assault, and trauma. People are shot, hit in the face, slapped, choked, and trapped in cages, and some jump out of windows and fall, severely hurting themselves or dying. Other…

Positive Messages

Be ethically aware and concerned when developing new technologies. It's what's on the inside that matters, not the outside. Try to be brave when up against daunting challenges.

Positive Role Models

Dr. Atsuko is a smart and capable lead who has an alter ego in the form of a character named Paprika. Dr. Atsuko is sensible, calm, measured, and professional, while Paprika is playful, innocently childlike, and charismatic. Together, they take on the mystery of who is threatening to end the world and both bravely fight to prevent its destruction. Other characters, like Detective Konakawa and Doctor Shima, are good people just trying to help where and when they can.

Diverse Representations

The film and cast are Japanese. The lead is a character with two personalities, one is a serious, professional doctor and psychotherapist, and the other is playful and charismatic. All other characters are men. Generally, all characters are represented along traditional gender codes. A fat man is fat-shamed by people and called a "slob" and "fatso."

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Some violent images and moments of sexual aggression, assault, and fantasizing over a tied-up victim. In a dream reality, a woman is pinned to a table like a butterfly and assaulted by a man who gropes her breast and pushes his hand into her body (not through her genitals, but through her actual abdomen) and moves up through her skin, ultimately deskinning the outer layer of the person, revealing another naked woman underneath. The man then chokes her and his arm, made of tree roots, goes into her mouth. Another man kisses a woman who is asleep dreaming without her consent. In a different dream sequence, a man shoots another man in the back, and blood pools around the body. A man is also choked, hit on the head with a briefcase and guitar, and locked in a cage. A man in reality jumps out of a window and falls, severely hurting himself (is hospitalized but survives). In another dream, a man is blown up like a balloon impossibly large and eventually bursts, freeing him from the dream. In more dreams, a man explodes into hundreds of butterflies, someone falls into a dark hole, people "go crazy" and also suffer anaphylaxis, bloody parts of a device are extracted from someone's head during surgery, and a man falls from a tall height and dies.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A woman is shown nude when pinned to a table, and her bare breasts are shown. The same woman is also nude (bare breasts) later as a giant towering over a city. In a dream, a woman sinks into the body of a man, and the man exhibits sounds and shows an expression that suggests he feels sexual pleasure from it. People come across some pornography magazines in a man's apartment. Some romantic kissing.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adults sometimes smoke cigarettes and drink alcoholic drinks at a bar.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Paprika is a Japanese animated dramatic thriller that's not for kids. There are moments of violence, sexual assault, and trauma. People are shot, hit in the face, slapped, choked, and trapped in cages, and some jump out of windows and fall, severely hurting themselves or dying. Other people "go crazy" when their minds are infiltrated, and they lose control over their behavior. In one dream sequence, a woman is pinned to a table like a butterfly, and a man proceeds to assault her (groping her breast) and pushing his hand into her stomach through her skin. He then moves his hand up through her skin to her head and splits her open, revealing a naked woman (bare breasts are shown) underneath. He then chokes this woman and throws her to the ground. Bloody parts from a technological device are removed from a man's head during surgery. Other characters are chased and threatened. People turn into inanimate objects, animals, and toys. A fat man is fat-shamed and called "fatso" and a "slob." Some adults occasionally smoke cigarettes and drink alcoholic beverages at a bar. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

In PAPRIKA, a "genius" doctor invents a device that allows people to share dreams and experience them together. But when the technology is stolen and used for dangerous purposes, the outcomes become world threatening. It's up to a psychotherapist doctor (Megumi Hayashibara) and her dream-self alter ego to save the world.

Is It Any Good?

Originally released in 2006 in Japan and 2007 in the United States and on many critics' top anime films of all-time lists, this anime classic is incredibly creative and innovative. But Paprika is also a difficult and challenging film that requires viewers to pay attention to everything packed inside its taut 90 minutes. The visuals are sumptuous, busy, and intricate, and the ideas played within the story are mind-bending and taken from the novel of the same name by author Yasutaka Tsutsui. As it has often been suggested, Christopher Nolan's Inception and Michel Gondry's Eternal Sunshine of the Spotless Mind are two films that seem to directly work off Tsutsui's ideas in his novel. And yet, despite Paprika 's achievements, many viewers might very well find themselves disgusted by it, either from its at times seemingly cavalier attitude toward sexual assault or its too easy blending of "thought" realities, or because of how simply the film cleans up its ending. But for others, Paprika will be a thought-provoking, challenging, and fun thrill packed with imagery, symbolism, and play, rich with a full assortment of meaning to argue over.

Notwithstanding, at its heart, Paprika is still a mystery and then a thriller. And the characters at the center are deeply explorative and represent humanity as a people who struggle with who we want to be versus who we find ourselves to be in reality. While our dreams compel us and show us possibility, they can also strive to keep us in trauma, anxiety, and pain. Further, the film implicates technology and technological invention without full ethical consideration as potentially soul annihilating and at the very least dangerous to what makes human beings special, which in this case is the fact that we dream, individually, independently, and powerfully. While the prospect of being able to dream together and experience the dreams of other people is promising in terms of its psychotherapeutic capacities, this film suggests that our dreams might be better served, and might better serve us, as remaining uniquely specific to the individual.

Talk to Your Kids About ...

Families can talk about violence in animated dramas. Did any of the violence in Paprika surprise or shock you? What scenes were most disturbing?

Where do you think the Paprika character came from? Do you think she was always a part of Dr. Atsuko or only emerged after the DC Mini technology became real?

Why do you think Dr. Tokita is portrayed the way he is? Do you think this is a fair portrayal? Why, or why not?

What do you think might be the overall lesson of this story?

Are you satisfied with the ending? What do you think happens and what is meant when Detective Konakawa finally goes to see the movie suggested by Paprika?

Movie Details

• In theaters : May 25, 2007
• On DVD or streaming : February 20, 2024
• Cast : Megumi Hayashibara , Tôru Emori , Katsunosuke Hori , Tôru Furuya
• Director : Satoshi Kon
• Studio : Sony Pictures Entertainment
• Genre : Anime
• Topics : Magic and Fantasy
• Run time : 90 minutes
• MPAA rating : R
• MPAA explanation : violent and sexual images
• Last updated : March 12, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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• Aug 5, 2019

PAPRIKA (2006) | ANIME REVIEW & ANALYSIS

Updated: Jun 30, 2023

Paprika might be the anime of your dreams or your worst nightmare!

Director: Satoshi Kon

Cast/Voices: Megumi Hayashibara, Tôro Furuya, Kôichi Yamadera, Katsunosuke Hori

Related films: Perfect Blue , Tokyo Godfathers , Paranoia Agent

Studio: Madhouse/Sony

Verdict: 6/6

Introducing Paprika Dreams

The anime swansong of satoshi kon, paprika's plots of paranoia, between the lines of dreams and reality, paprika under the skin (ouch), paprika parallels in anime, paprika parallels outside anime, final verdict for paprika.

Paprika is a magnificent surreal nightmare, unlike anything you have ever seen before. It is a futuristic thought experiment in which the boundaries between dreams and reality are whisked away. It is a bizarre pop art painting turned to life in the most visually striking way imaginable.

Depending on what you are after, Paprika might be the anime of your dreams or your worst nightmare. It is the perfect film for fans of outlandish imagery, dense storytelling, and challenging plots. It might not be as palatable for the Ghibli crowds, though. If you’re looking for accessible popcorn entertainment, approach Paprika with caution.

Both nightmarish visions and fairy-tale family fun has their charm, of course. There is no sense really in comparing the two. Paprika was an international success on par with most Ghibli films. No matter your preference, it is downright impossible not to feel a tingle in your curiosity bone when the mesmerizing images start to flow.

Paprika was the fourth and final anime film Satoshi Kon made before passing away from pancreatic cancer in 2010. Paprika was well-received around the world. For a while, Kon was the brightest shining star in the anime sky before faith intervened and robbed the world of a true visionary.

The story in Paprika is based on the 1993 novel of the same name. It was written by Yasutaka Tsutsui, who also wrote The Girl Who Leapt Through Time. Tsutsui was a big influence on Kon, which presumably led to the author getting a voice-acting cameo as a bartender in the anime.

Before Paprika, Kon had worked his way up from anime fanboy to manga artist. Thereafter, he got a job as Katsuhiro Otomo's assistant and later scriptwriter before moving on to background and layout design for anime films like Patlabor 2 ( Mamoru Oshii ) and Memories (1995, Otomo).

Between the years 1997 and 2004, Kon directed Perfect Blue, Millennium Actress, Tokyo Godfathers, and Paranoia Agent (TV Series). By 2006, die-hard anime fans would already know his name well. Then came Paprika which made him an international sensation.

Kon had been planning the production of Paprika for more than a decade, and his ambitions did not go unnoticed. Paprika won several awards and has since been listed as one of the best anime films of all time by Time Magazine, Time Out, and Rotten Tomatoes. His career virtually exploded, only to implode a few years later from his tragic passing.

Paprika's story is both a blessing and a hurdle. The number of layers and details make for a depth most anime makers dare not dream about achieving. On the other hand, it might lead to more head-scratching than enjoyment.

«All you can do is lean back and let the movie madness wash over you,

like a tidal wave brimful of jellyfish shaped like gelatinous clocks»

Simply put, the story is about a company that has developed a device for supervising and sharing dreams. One of these devices has a «malfunction» that lets the wearer invade anyone’s dreams. The person whose dream is entered experiences a temporary loss of sanity.

The dream-invasion device was developed as part of an experimental treatment project for psychiatric patients. The head of the research team gets so caught up in the device's potential that she starts to treat patients illegally outside of the company facilities. Her avatar/alter-ego in the various dreamworlds is named Paprika.

«Like a surreal dream turning into a total nightmare, Paprika evolves

into a monstrous scenario as epic as any Godzilla film ever made»

Then, all hell breaks loose when the dream invasion device is stolen. Somehow the thief is able to use it to control the dreams of Tokyo’s entire population. As the thief develops his skills, he learns to fuse the dreamworlds with reality, which in turn endangers the entire planet.

Paprika expanded the horizons of anime filmmaking with the exploration of the human psyche at its core. It questions the relationship between subconscious and conscious dreams. Likewise, it also comments on the reliance on understandable narratives in our daily lives.

It presents itself as the polar opposite of logical reasoning, yet possessing indefinite depth beneath the surface. The success of the film is proof that reason and logic are not always needed to communicate. In fact, its message might even be strengthened by forcing the mind of the spectator to expand beyond the expected.

Alex (from the excellent YouTube channel AlexEnterprises ) argues that Paprika rejects reality by presenting a detective story that is set entirely within the realm of dreams. It proposes that we don’t need to be grounded in reality to tell compelling stories. It even suggests that fantasy might be a desirable factor in our lives. The detective certainly appears more content when embracing his dreams rather than rejecting them.

Kon himself said that the recurring parade, which signifies the line between dreams and reality, was inspired by Shinto and the idea that everything has a soul. Many souls, or kami, are gradually disappearing from popular consciousness. According to Kon, the importance of dreams seemed to dissipate along with these traditions of old.

The doctor created the Paprika avatar with the intention of helping psychiatric patients. However, from her unconscious mind, Paprika becomes more of a guiding light for the doctor in the real world. Understanding her own psyche appears the biggest challenge of all.

Paprika is not just about the fantasy of dreams but the fantasies of reality. It's about the difference between who we want/imagine ourselves to be and the person that looks back at us in the mirror. We are all complex beings. Coming to terms with our various sides is not always easy or pretty.

Paprika is the yin to Dr. Atsuko's yang. She is the carefree dreamer within the controlling realist, the part of the Doctor that never surfaces in real life but always looms in the shadows of her psyche.

Removing the boundaries between dreams and reality raises questions about human desires. When dreams become reality, and reality becomes dreams, do we really welcome the changes in our lives? Or are daydreams simply a way to distance ourselves from everyday hardship?

When the detective’s dreams first invade his life, it is far from a pleasant experience. Only when he comes to terms with his inner self does his outer reality seem to fall into place. For many, dreams might be nothing more than just that… Dreams. They serve the purpose of distraction by teasing our imagination.

Paprika probably requires a few rounds before sinking in, but its many layers are one of its core strengths. Taking this trip is like falling down the rabbit hole in Alice in Wonderland, only to land inside one of the nightmarish dream sequences in Akira.

Looking back at both anime history and Kon’s filmography, the parallels between his work and Akira are more present than ever in Paprika. Both films are partly set within haunting nightmares. Both stories are interlaced with undertones of social commentary.

The productions of Akira and Paprika also have some interesting features in common. Both films sport some of the most mind-blowing artwork to ever be drawn by Japanese animators. And to top it off, both scores perfectly enhance the creepy nature of the topic matter.

Whether Paprika was directly influenced by international films or not is hard to say. Its heavy reliance on surrealism brings to mind the horror imagery of Clive Barker, the bizarre storytelling of David Lynch, and the kooky antics of Terry Gilliam.

The release of Inception in 2010 caused a small uproar among bloggers and anime fans. The story in Christopher Nolan’s film was too similar to be a coincidence. From the dreams within dreams, the elevator sequence, and the hallway significance, down to details like dialogue and wardrobe. There is no denying that Inception must be influenced by Kon’s film, or was it maybe just a case of shared dreams?

Now and then, the atmosphere in Paprika seems to mirror the literature of Haruki Murakami. A perception that very well might stem from my fanboy relationship with books like The Wild Sheep Chase, Hard-boiled Wonderland… and Dance Dance Dance. That being said, the line between Paprika’s surrealism and Murakami’s magic realism is pretty thin at times.

When first diving into the universe of Satoshi Kon, it was a confusing journey indeed. Nothing made sense, and everything fascinated. Paprika was an instant classic of sorts, although its brilliance wasn’t realized until the film had been digested for the 5th time.

One thing is for sure, Paprika is a movie that never ceases to amaze. It makes you wonder what kind of mind it takes to come up with such unique imagery and twisted storytelling. The deeper you dive into the creations of Kon, the more they fuel your imagination.

«Paprika demands an open mind, but once you let it in, or rather enter

the realm of dreams, the experience is one that will never leave your system»

Satoshi Kon was, without a doubt, one of the most creative and inventive anime directors of all time, and his passing was an equally devastating loss to the community. His legacy will never be forgotten, and his work has already proven to stand the test of time.

Those of us who were there when Paprika first aired will forever remember. Everyone else should do themselves a favor and pick up a copy of Kon’s anime masterpiece today. The Blu-ray version has become very affordable on both sides of the Atlantic, and HD perfectly complements the fantastic imagery. Available from Sony Pictures Home Entertainment.

Resources Anime News Network: Interview - Satoshi Kon

Film School Rejects: The Synergy of ‘Inception’ and ‘Paprika’ IGN India: An Ode to Anime Auteur Satoshi Kon

Satoshi Kon Wiki: Paprika

SyFy Wire: Decoding What the Hell is Going on in the Anime Classic Paprika

Wayback Machine: TokyoPop - Interview with Satoshi Kon

Wikipedia: Paprika (2006 film)

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Paprika 4K Review: Beautiful Dreamer

By Luke Y. Thompson

Had Satoshi Kon not died tragically early at the age of 46 in 2010, he might be more regularly mentioned in conversations about all-time great directors of his generation. As it happened, he left us with an astounding four-for-four track record, a quadfecta of near-perfect films starting with Perfect Blue, through Millennium Actress and Tokyo Godfathers, culminating in Paprika , which he felt gave a sort of closure to the cycle even before he knew there’d be no more. Aimed at older viewers, and usually with a meta-fiction theme that blurs dreams with reality, his animated features don’t necessarily strive to be visually ground-breaking, but they can be gloriously brain-breaking. The viewer may not always know what is and isn’t reality within his narratives but is always propelled along for the ride.

The Kon Is on

“This is your brain on anime” was Sony’s lunk-headed marketing tagline for the film in 2006, hoping to appeal to adult viewers who had already mentally compartmentalized anime as weird and incomprehensible. There are no other anime films quite like Kon’s, though — even an otaku teen of today might find his oeuvre an exhilarating break from the norm. Kon is as steeped in literature and classical cinema as he is in manga, with Paprika dropping visual references from The Greatest Show on Earth, Pinocchio, Blade Runner, and many more. He was inspired by the 1993 Yasutaka Tsutsui novel Paprika long before he considered adapting it; only when Tsutsui himself requested him did he finally take it on.

For the uninitiated, Paprika is an uninhibited, flirtatious female avatar who exists only in dreams and serves as a therapist who can both interact with and record the dreams she enters in order to help her patients. In real life, she’s Dr. Atsuko Chiba, a more reserved scientist whose secret escapades as Paprika are illegal, despite being helpful.

Unfortunately, she learns quickly why the laws are in place, as the “DC Mini,” the device she uses to enter people’s dreams, has been stolen by someone who’s using it to trap victims in waking nightmares and ultimately to blur the boundaries between dreams and reality. As Atsuko and her colleagues investigate, everyone’s sanity begins to fray, while the cop who’s supposed to be on the case must face down the childhood trauma that haunts his nights before he can be much use in resolving everyone else’s.

Reality Ends Here

The use of dreams as a plot device allows Kon to bend reality in ways that the plot logically allows, as opposed to just because he wants to, which is sometimes the case in his other works. Even so, those paying close attention may notice that the movie occasionally cheats its own rules, but only at the point the viewer is normally so engrossed they won’t notice the first few times. Integrating CG in various ways for a technique animators call 2.5-D, Paprika’s visuals occasionally make the digital conspicuous — there’s a brief look down a ladder, for instance, that’s like a Resident Evil scene transition. But the computer also allows more layer manipulation in the 2D space and the ability to suddenly move the background without it having been a conspicuously painted cel prior.

U.S. critics didn’t know what to make of Paprika in 2006, as many had only just gotten used to Hayao Miyazaki, but whether he admits it or not, it’s clear Christopher Nolan did. Inception, released four years later, isn’t what anyone would reasonably call a rip-off of Paprika, but several moments and key scenes certainly seem inspired by it. There’s a lot to dig into in the movie beyond the dream theft plot and the energetic, ecstatic soundtrack by Susumu Hirasawa and some computer-generated female vocals. (Buy the soundtrack, too, and thank me later.) There’s conflict in duality throughout the story: within each character, between human and avatar, dream and reality, cinema and truth.

In Dreams and in Memory

Kon’s death adds extra poignancy now to the subplot about the cop who once dreamed of being a filmmaker — and who even explains certain cinematic techniques within the movie itself, by demonstration. What is cinema, after all, if not a collective dream of its own?

The only aspect of the film that doesn’t quite work is a love story element carried over from the book. Throughout the movie, the inventor of the DC Mini is depicted as massively obese, sweaty, and gluttonous to a comical degree, and at the end [SPOILER!] Atsuko suddenly decides she loves him. Where did that come from? The book, yes, but Kon does not love this character or invest much in building subtext between the two. It plays as an out-of-nowhere grace note twist, as if to say, “I can’t be fatphobic because…”

The 4K UHD transfer, packaged with the original Blu-ray version, offers an interesting choice. The 4K version has been carefully remastered, as shown in a featurette on the 4K disc, in a manner that dulls down the color range across the board, but takes pains to contrast between the brighter, more saturated dream world and drab reality. Additional trailers and extras on the Blu-ray suggest this is closer to the theatrical version, but the Blu-ray, with sharp, bright color overload everywhere, may be more to some viewers’ liking.

There also seems to be more motion blur in the 4K transfer, while the Blu keeps sharp focus — considering that Kon on the commentary is specific about what he does like to see in focus, this aspect feels a touch off. It’s a great movie either way, but just as the DVD version of Perfect Blue had a noticeably different color aesthetic to the Blu-ray version, there’s some choice here.

All the other extras are ported over from the previous Blu-ray and are worth your time. The commentary track, featuring Kon, Hirasawa, and associate producer Taro Morishima (all speaking Japanese and subtitled in English) is light but deep, as Kon and Hirasawa razz each other over working more subconsciously than intellectually, and discuss their use of the subconscious, and differences between American and Japanese animated filmmaking. Documentary featurettes include one that covers the production process and release, another on the colors, and another on how digital effects were used in obvious and non-obvious ways.

A four-way conversation between Kon, Tsutsui, and lead actors Megumi Hayashibara and Toru Furuya is both fun and enlightening — throughout all the extras, we get a pretty good glimpse into the way Kon works and how much of what he does is planned versus a happy accident. (Among other details, the movie did not have an ending when they started making it. He came up with it on the fly.)

Finally, there are storyboard comparisons for three sequences, allowing viewers to compare storyboard art, individual character cels, and the finished scene all at once. The disc may not feel that it has hours of extras, but they’re all distinctly different and with full access to Kon at every stage, almost to the point of demystifying the movie, for those who really want to know how all the tricks are done.

Whether you do or don’t want to know how they pulled off the final product, any cinephile of anime or otherwise owes it to themselves to see Paprika at least once, and Sony has put together a great presentation. This iteration of the Dream Police will live inside of your head, and you’ll like it. Maybe even love it.

On a minor aesthetic note, the steelbook cover is really nice too, full of hidden details when the light hits it right. Just like the movie.

Grade: 10/10 – Masterpiece

Per Coming Soon’s review policy , “This is the rare release that transcends genre and must be experienced by all fans of the medium.”

Paprika is out now on 4K, digital, and Blu-ray.

Luke Y. Thompson has been a professional film critic since 1999, and part of the toy blogging community since the aughts. He was the first blogger to cover Comic-Con panel by panel for a major trade publication, and has several LA Press Club awards and honorable mentions, including one for reviewing fast food.

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• Sony Pictures Classics

Summary Dr. Atsuko Chiba is a genius scientist by day, and a kick-ass dream warrior named Paprika by night. In this psychedelic sci-fi adventure anime, it will take the skills of both women to save the world. (Sony Pictures Classics)

Directed By : Satoshi Kon

Written By : Yasutaka Tsutsui, Seishi Minakami, Satoshi Kon

Where to Watch

Megumi hayashibara, paprika, chiba atsuko, inui sei-jiroh, katsunosuke hori, shima tora-taroh, tôru furuya, tokita kohsaku.

Kôichi Yamadera

Osanai morio, akio ôtsuka, detective kogawa toshimi, hideyuki tanaka, satomi kôrogi, japanese doll, daisuke sakaguchi, mitsuo iwata, tsumura yasushi, rikako aikawa, kakimoto nobue, shinichiro ota.

Satoshi Kon

Yasutaka tsutsui, brian beacock, hajime himuro, kuga, doug erholtz, dr. morio osanai.

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Dr. seijiro inui, shin'ya fukumatsu, kumiko izumi, critic reviews.

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Paprika Reviews

But for others, Paprika will be a thought-provoking, challenging, and fun thrill packed with imagery, symbolism, and play, rich with a full assortment of meaning to argue over.

Full Review | Mar 1, 2024

... the philosophically rich or visually stimulating representations of the ideas present in the film that still grab hold of audiences in a way that live action just can’t.

Full Review | Feb 22, 2024

Even the title sequence alone reminds you just how brilliant Kon was at shifting between reality and fantasy.

Full Review | Feb 13, 2024

Drawing from ideas ofthe human psyche as well as the art of filmmaking,Paprika is brimming with creativity, from a writer and director whose understanding of animation was unparalleled.

Full Review | Sep 5, 2021

Satoshi Kon's final film is not only one of his finest, but one of the most exhilarating and memorable pieces of Japanese animation ever produced.

Full Review | Jul 7, 2021

This is what animation is meant to be.

Full Review | Jan 24, 2020

Though Kon sometimes hits on startling visions ripped straight from your head last night, he's ultimately more interested in film theory than the Freudian sort, evoking dreams in a way that's most faithful to dream sequences.

Full Review | Original Score: 3.5/4 | Oct 25, 2019

Its Inception-inspiring premise of a young woman who can expertly dive into other people's dreams fully exploits the fluid, plastic capacities of animation to realise an ever-shifting, unstable world ruled by arbitrariness and id

Full Review | Mar 17, 2018

Yes, Paprika is a masterpiece. The animation medium lends itself so perfectly to dream capers that it's no wonder Kon's final film is regarded a perfect marriage of form and subject.

Full Review | Original Score: 9/10 | Dec 14, 2017

Paprika has the curious effect of making you feel strangely happy afterwards, as if some internal load you hadn't even realized you were carrying is suddenly lifted. It sings. Go see it, even if it's not your birthday, you might feel like it is.

Full Review | Aug 23, 2017

Reality and fantasy leak into each other in short-circuiting jolts in Kon's cosmos

Full Review | Aug 27, 2009

Though it's not quite up there with the cream of anime feature films, Paprika is a distinctive, quality addition to the genre.

Full Review | Original Score: 3.5/5 | Sep 9, 2008

Plays like the end and the beginning of Japanese cinema: it contradicts itself and contains multitudes.

Full Review | Original Score: A | Feb 27, 2008

The animation shows brilliant imagination by the filmmakers.

Full Review | Original Score: B | Oct 2, 2007

Its visual collision of mindscapes, films within films and dreams within dreams cascade into a dizzying rush that easily washes away the humdrum dialogue and somewhat sketchy plot.

Full Review | Sep 13, 2007

Paprika fills me with such overwhelming enthusiasm as to leave me gibbering.

Full Review | Original Score: 9/10 | Sep 12, 2007

Solely as a magical mystery tour of sights, sounds and surrealism, however, it's a unique animated blast to the senses.

Full Review | Original Score: 2.5/4 | Aug 17, 2007

Offers both eye candy and mind candy -- it's a thoughtful visual treat.

Full Review | Original Score: 3/4 | Aug 10, 2007

Watching anime is like hearing a foreign language in which you are fluent but not native: However much you believe you understand, you can never be sure you totally get it.

Full Review | Original Score: 84/100 | Aug 10, 2007

With a conventional invade-dreams/bend-reality plot, it's a bit of a bore.

Full Review | Original Score: 2/5 | Aug 9, 2007

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Paprika (2006)

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Paprika is a cinematic dream analysis of dueling identities

Credit: Sony Pictures Classics

Satoshi Kon is a legend in animation for a reason. Perfect Blue . Tokyo Godfathers . Millennium Actress . The films his hands touched are achingly sad, bloodcurdlingly horrifying, and explosively vibrant all at once. His final film before his untimely passing, Paprika , is no exception.

If you've never seen the film before, Paprika , is a thriller where a group of inventors must track down the stolen technology they've created, the DC Mini, before the thief uses it to control their dreams, the world's dreams, and maybe even bring about the end of days.

Paprika , if it can be boiled down in this way, is, ultimately, about two things: dreams and identity. It's also about how technology impacts both these things. Ultimately, though, the DC Mini is merely the vehicle that allows Kon to explore how our subconscious and conscious minds struggle with who we were, who we are, and who we wish to be.

Doctor Atsuko Chiba, who is, essentially, our protagonist spends the entirety of the film being split between her real world self (stern, buttoned-up, conservative) and, Paprika (vibrant, charismatic, free-spirited), who she becomes when she enters dreams. Paprika 's theme of duality is at it most clear here. Atsuko's story at it's most simple is one of a woman who struggles between who she wants to be and who she feels she ought to be. Ultimately, all parts of her identity are her, and the conflict comes from her inability to embrace that reality.

Almost every character in Paprika struggles with this more or less. Tokita, who actually invented the DC Mini, struggles between adulthood and childhood, Himuro struggles with sexual and gender identity, and Detective Konakawa struggles with the career he chose and the one he ran from.

But perhaps the most interesting character of all is the "villain," Doctor Inui, the Chairman controlling the entire DC Mini operation. He believes that dreams are sacred and should never be invaded or controlled by technology. If anything, dreams are more important than reality itself. In addition to discomfort with his own sexuality, the Chairman is also wheelchair bound. For him, the dream world is a space where he no longer feels limited by his own body. For him, the dream world is where he is himself and the real world is a waking nightmare of limited identity.

On today's episode of Every Day Animation , comic, Jes Tom , joins the podcast to deconstruct all of these characters and themes. What was Satoshi Kon thinking about and dealing with himself while making Paprika ? How do these themes show up in our own lives? What makes Paprika so exceptional even ten years after its initial release? We talk about all that and more.

If you're watching along with us, tomorrow is an exploration into the subgenre that is H. John Benjamin. Writer for All Female Reboot , Ariel Elias , joins the podcast to talk about one of the best Adult Swim joints you probably forgot about, Lucy, the Daughter of the Devil . It's only a eleven episodes long and each episode is also only eleven minutes a piece, so don't be afraid to binge watch this show before we talk about it tomorrow.

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Reviews for Paprika (7.43)

1. - chozopuffs kon satoshi hey anidb, so months ago i ended my perfect blue review with "i look forward to seeing more works from satoshi kon." and behold, here we are with paprika so, how did it match up is it a wi... home twitter - unrated.

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Comments (2)

2. - grudgeal Kon Satoshi Paprika -- Because right about now, I really needed a little pepper. So, this week I went through my DVD collection and noticed, on my anime shelf, that I actually had a few fi... Home Twitter - Unrated

Comments (1)

3. - ace52387 Kon Satoshi 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 p... Home Twitter - Unrated

Comments (3)

4. - psgels Kon Satoshi Satoshi Kon comes with another movie, called Paprika. This is the same person who directed Paranoia Agent, so I undoubtedly looked forward to it a lot. So, after having seen it, how did it t... Home Twitter - Unrated

Comments (4)

5. - ThatAnimeSnob Kon Satoshi As much as I’m supposed to respect this film for being the swan song of the late Satoshi Kon, I just can’t do it. Despite following the anti-escapism message motif of all his works, it’s als... Home Twitter - Unrated

Comments (0)

6. - mimikochan Kon Satoshi SPOILERS ALERT! All my reviews have spoilers! Paprika is a 2006 animated movie directed by Satoshi Kon and co-written with Seishi Minakami. The story is based in Yasutaka Tsuitui’s no... Home Twitter - Unrated

7. - Alen_Starkly Kon Satoshi Art & Animation Fantastic! Character designs are really pointed towards how real humans look, instead of the usual anime appearance. Animation, effects, motion and change of sc... Home Twitter - Unrated

8. - merkhant Kon Satoshi Animation: The animation in Paprika is very good, there is some use of CG, but it fits in well. The dreams have many different sceneries, some of which look really astounding. Soun... Home Twitter - Approval: 30.9% (7 votes)

Comments (7)

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Screen Rant

Paprika retro review: classic anime film goes beyond the hollywood movies it inspired.

Paprika is one-of-a-kind, with a beautiful yet surreal style that make it more than just an anime version of a Hollywood thriller.

Paprika contains scenes with sexual content.

Originally based on a book written in 1993, the 2006 anime film Paprika could be written off as an anime version of Inception . It's worth noting, however, that Satoshi Kon's film predates Inception by four years, and the original book predates it by over a decade. There are superficial similarities between the two plots, due to involving machines meant to influence people's subconscious through their dreams. Paprika is a one-of-a-kind experience, with a beautiful yet surreal style that make it so much more than just an anime version of a Hollywood movie.

Paprika 's director Satoshi Kon was never quite as popular or well-known as Studio Ghibli's Hayao Miyazaki, especially outside Japan. However, the films that Kon directed including Perfect Blue , Millennium Actress , and Tokyo Godfathers have all been widely acclaimed by critics and audiences alike. Kon also directed the anime series Paranoia Agent , and the 1993 anime adaptation of Jojo's Bizarre Adventure . Paprika was the last movie Kon completed before his unexpected death from pancreatic cancer in 2010.

Paprika Is A Parade For The Sense

To briefly summarize Paprika , Dr. Atsuko Chiba uses a machine called the DC Mini to treat her patients by entering their dreams with a digital avatar named Paprika. It soon becomes apparent to Dr. Chiba and her team that someone is using the DC Mini to enter the dreams of others to influence their minds with malicious intent. Chiba and her team investigate in both dreams and the real world as dreams begin to spill into reality. At its core, Paprika is a mystery, but embraces the unique artistic opportunities of its dream-laden premise to put an utterly unique spin on the mystery concept.

It's thematically appropriate that one of the recurring songs in Paprika 's soundtrack is called "Parade", as one of the major scenes involves a literal parade of bizarre dream figures spilling over into the real world, and because Paprika overall feels like a constant forward march of images and sounds. It can be overwhelming and disorienting – but that's the whole point. Satoshi Kon became famous for the visual style used in Paprika , and the film is a perfect demonstration of his talent for art direction and animation. Kon fully embraces the opportunity for surreal and bizarre imagery and animation afforded by a story driven by dreams spilling over into the real world.

Paprika isn't necessarily a scary movie, but many of the dream sequences are genuinely unsettling. The animation, art direction, and use of sound in these scenes expertly establishes to audiences that something isn't quite right, slowly building up to the reveal of how exactly the dreams and reality are merging. Dream sequences naturally lent themselves to the Uncanny Valley principle of things that look almost but not quite fully human being especially unsettling, and Kon's art style commits fully to making the most of that. Still, Paprika does mitigate the frequent aura of eerie uncanniness with genuinely funny jokes and visual gags.

Paprika's Soundtrack Perfectly Compliments Its Story

Experimental musician Susumu Hirasawa has released 17 albums of his own, along with a comparable number of anime soundtracks. Western anime fans will likely know him for his work on the anime adaptations of Berserk . Hirasawa previously provided the soundtrack for Kon's other film Millennium Actress and for his anime series Paranoia Agent. It's a perfect match. Kon's films are known for their unique, surreal art style, and Hirasawa's musical style is so unique that it involves playing several instruments he built himself from scratch.

Although Hirasawa's entire soundtrack for Paprika is fantastic, there are two standout tracks, "Parade" and "The Girl in Byakkoya". The catchy but creepy "Parade" plays during various key moments in the film, as well as on the Blu-ray version's menu, which gives viewers the perfect demonstrate of what they're getting into. "The Girl in Byakkoya" isn't necessarily any less surreal than "Parade", but is a lot softer and gentler and serves as Paprika's theme song during the opening credit sequence. Hirasawa's soundtrack stands out as one of the best in anime . The music fits with Kon's art perfectly and the sound and visuals combine to Paprika both truly beautiful and bewilderingly surreal.

Paprika Can Be Too Weird For Its Own Good

Paprika is a fantastic anime movie . Even so, it's not entirely without its flaws. As undeniably stylish as it is, sometimes, those stylistic choices get in their own way. Deliberately presented as surreal as possible, the dream sequences naturally don't operate on real-world logic, featuring a lot of quick camera cuts and sudden jumps in visual esthetic. Especially during a first viewing, it can be hard to keep track of what exactly is happening and what exactly the visual metaphors are supposed to represent. Of course, that just encourages repeated viewings, and Paprika is definitely worth watching more than once.

One of the most common complaints about Paprika from the audience is the film's inclusion of a romance angle that feels tacked-on, largely inconsequential, and isn't presented with the build-up it deserves. The criticism isn't unwarranted, but the romance angle is innocuous enough that it doesn't really have much impact on the rest of the movie for good or bad. It is clumsy, but it's also pretty easy to ignore. It's certainly not enough to hold Paprika back from being a classic.

With Satoshi Kon's unique art style and directing fully embracing the visual possibilities of the dreamscape and a unique soundtrack by Susumu Hirasawa perfectly suited to the animation, Paprika has deservedly gone down as a classic of feature-length anime films . Although the premise has inspired later movies like Inception , Paprika remains so utterly unique that it really can't be compared to anything else. Despite the superficial similarities, Paprika 's unique qualities make it so much more than just an anime version of a Hollywood movie.

By DoubleSama | September 3, 2022 | Comments 0 Comment

Movie Overview

Paprika (パプリカ) is the fourth and final movie Satoshi Kon completed before his death in 2010. The movie released in 2006. Of Kon’s 4 movies, this is my second favorite after Perfect Blue . It goes back to a lot of the themes I liked from Perfect Blue, which I felt the other two movies lacked.

But, what’s Paprika about? Unfortunately, it’s not a movie about cooking with spices. It’s actually about technology that lets doctors interact with the dreams of patients. In an ideal world, it could help to determine sources of stress and even fix mental disorders.

Of course, the world isn’t ideal, so things go wrong. Someone steals this dream-intruding technology and uses it to manipulate dreams. This has a few dangerous consequences.

People can become trapped in their own dreams. They can lose the ability to distinguish between dreams and reality. And they can begin dreaming even while awake.

I know that the 2010 movie Inception has a lot of similarities to Paprika. It seems likely that Paprika was a major source of inspiration for that movie. But, there are a lot of people who have discussed that connection before. So, I’m just going to leave it at that.

Instead, let’s briefly get into one of the best aspects of the movie: The way the plot goes through cycles. Have you ever had a recurring dream? Of course you have. Well, Paprika uses the concept of recurring dreams to progress the plot in a pretty neat way.

There are a few times in the movie when we find ourselves within a dream we’ve seen before. But, each time this happens, we get a bit closer to the truth behind the dream. I like this style of storytelling, and Paprika nails it.

The Best Characters

In my review of Tokyo Godfathers , I said my favorite Kon characters were either from that or Paprika. After thinking about it some more, the characters in Paprika are better. And a big reason for why that is is how the movie uses the characters. (Spoilers incoming.)

Let’s start by looking at Atsuko Chiba and Paprika. Paprika is an alternate personality of Atsuko who manifests within the dream world. But, it’s not as if Atsuko simply becomes Paprika in her dreams. Paprika and Atsuko are always coexisting. Even when Atsuko is awake, she can communicate with Paprika.

These are two distinct characters with their own personalities. But, they’re also still the same person. This is why I liked their dynamic so much. It’s like if the two main characters in a buddy cop movie were also the same person. Atsuko is the serious one, Paprika is the fun one, and they work together to solve dream mysteries.

Toshimi Konakawa is easily the best character in the movie. He’s a cop who’s struggling with workplace stress and seeks help from Paprika. A large part of the movie takes place within Konakawa’s dreams. And this is where the whole recurring dreams sequence comes into play.

Every time we go into Konakawa’s dream (nightmare) we learn a bit more about who he is. His character arc also parallels that of Gin from Tokyo Godfathers. Both start out at their lowest points and end up being action movie heroes. Though, I think Konakawa’s journey is far more interesting.

The final character I want to mention is Kosaku Tokita. My favorite part about him is how his size was used. He’s a massive guy. But, the framing of a lot of shots emphasizes his size in entertaining ways.

Back to Twisting Reality

Millennium Actress and Tokyo Godfathers were missing something. They didn’t twist reality like Perfect Blue did. Millennium Actress still blended fantasy and reality. But it was always clear which was which. And the fantasy was more of a way to tell the story than a part of the plot.

In Paprika, twisting reality is the plot. The farther we get into the movie, the more reality and dreams blend together. And by the climax of the movie, there’s nothing separating the two. This, combined with the characters, is why I liked Paprika so much.

But, it’s not a perfect movie. The one thing holding it back is the identity of the antagonists. For most of the movie, we don’t know who the antagonists are. Then, toward the end, it’s suddenly revealed that we’ve already seen them. The antagonists are actually two of the random supporting characters.

Because of how long it took to reveal the antagonists, I thought the twist would be a lot more interesting. It wasn’t some meta twist. And there wasn’t really any lead-up to the reveal either. My only thought was, “Oh, that random guy whose name I don’t remember is the bad guy?”

It’s also at this point that the plot of the movie took a turn for the worse. Yes, there were action sequences earlier in the movie. But, they always had something to do with a specific character’s arc. The end of the movie is a big action sequence for the sake of it.

Our heroes have to fight against a giant monster that the main antagonist turned into. Why did he turn into a giant monster? Because he hates dreams or something, I don’t know. The plot kind of went out the window in favor of action.

Paprika is a 9/10 . If the ending was better, it could have been a 10. But, despite how much I liked earlier parts of the movie, I can’t give it a perfect score. And while I rated it the same as Perfect Blue, I still think I like Perfect Blue more.

If you enjoyed this review, remember to click the like button down below. Also, follow me on Twitter @DoubleSama so you don’t miss out on any future content. And come join our Discord server to discuss anime with other members of the community.

Finally, I’d like to thank Roman for supporting DoubleSama.com at the Heika tier this month. To learn more about how you too can become a supporter of this blog, check out Patreon.com/DoubleSama .

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– Entertainment Analysis and Reviews

Paprika Anime: The Intersection of Dreams and Reality

Paprika is an anime movie that has gained a significant following since its release in 2006. Directed by Satoshi Kon, the movie features an intriguing plotline that delves into the depths of the human mind, making it a unique experience for viewers. The movie is based on Yasutaka Tsutsui’s novel of the same name and has been praised for its stunning visuals, exceptional storytelling, and engaging characters.

Over the years, Paprika has become an important anime movie in the industry, with many fans and critics alike regarding it as a classic. The film’s exploration of the human psyche, technological advancements, and dreamscapes has made it an influential piece of work that continues to inspire filmmakers and animators. In this article, we will delve into the world of Paprika and explore the movie’s various aspects, from its storyline to its impact on the animation industry.

Paprika anime summary

Paprika anime reviews: production and development, reception and criticism of paprika anime movie, paprika anime explained – impact and legacy, paprika movie analysis.

Paprika is a surreal adventure that follows the journey of Dr. Atsuko Chiba, a researcher at the Tokyo Psychiatric Research Institute. Dr. Chiba has created a device called the DC Mini, which allows her to enter the dreams of her patients to help them overcome their psychological issues. She uses the device while assuming her alter-ego, Paprika, to delve deeper into her patient’s dreams, which leads to unexpected consequences.

The movie is a blend of different genres, from science fiction to fantasy and thriller, making it a unique experience for viewers. Here are some of the main themes and elements that the anime explores:

• Dreams and reality: The movie blurs the lines between reality and dreams, showing how they can intertwine and affect each other.
• Technological advancements: The DC Mini device represents a significant technological advancement in the field of psychiatry, but it also raises questions about the ethical implications of such inventions.
• Identity and self-discovery: The main character, Dr. Atsuko Chiba, grapples with her identity as a researcher and her alter-ego, Paprika, who is more free-spirited and adventurous.

Paprika anime was directed by Satoshi Kon, a renowned anime director known for his unique style of storytelling and exceptional visual design. The movie was based on the novel of the same name by Yasutaka Tsutsui and was produced by Madhouse, a well-known anime studio in Japan.

The development of Paprika was a significant undertaking, with the production team having to create intricate dreamscapes and surreal visuals to bring the story to life. The animation process for the movie was completed using both traditional and digital animation techniques, which helped to create a seamless blend of the real and the fantastical.

The music for the movie was composed by Susumu Hirasawa, who created a mesmerizing soundtrack that captured the movie’s otherworldly atmosphere. The voice acting was also exceptional, with the Japanese cast bringing their characters to life with impressive performances.

• Audience response to the anime

Paprika received a positive response from audiences worldwide, with many praising the movie’s unique storytelling and stunning visuals. The movie has gained a significant following since its release, with many fans regarding it as a classic in the anime genre. Viewers appreciated the movie’s exploration of complex themes such as the human psyche, dreams, and technology.

• Criticism and controversies surrounding the anime

While Paprika received critical acclaim, it also faced some criticism and controversy. Some viewers found the movie’s plot to be confusing and convoluted, while others felt that the characters were underdeveloped. There were also concerns raised about the movie’s portrayal of mental health issues, with some arguing that it oversimplified the subject matter.

• Awards and nominations received by the anime

Paprika received several nominations and awards for its exceptional animation, music, and storytelling. Some of the notable awards include:

• Best Animated Feature Film at the 60th Mainichi Film Awards
• Best Animation Film at the 30th Japan Academy Prize
• Best Film Score at the 5th Asia Pacific Screen Awards

The movie also received nominations for several other awards, including the Academy Award for Best Animated Feature, making it a significant achievement for the anime industry.

• Influence on the animation industry

Paprika has had a significant influence on the animation industry, inspiring many animators and filmmakers to push the boundaries of storytelling and visual design. The movie’s unique blend of reality and dreamscape, along with its exploration of complex themes, has become a hallmark of Satoshi Kon’s works and continues to inspire new generations of anime creators.

• Popularity and cultural significance of the anime

Since its release, Paprika has become a cultural phenomenon and a significant part of the anime canon. The movie’s blend of surrealism and reality, coupled with its thought-provoking themes, has resonated with viewers worldwide. It has inspired numerous fan art, cosplay, and merchandise and has become a cult classic among anime fans.

• Future prospects of the anime

Paprika is an anime movie that explores the intersection of dreams and reality and the potential consequences of crossing the boundaries between them. The story follows Dr. Atsuko Chiba, a researcher who has developed a device called the DC Mini, which allows users to enter and explore their dreams. As Paprika, her dream alter-ego, she begins to uncover a dangerous plot to manipulate people’s dreams and ultimately control their actions in the real world.

One of the most striking aspects of Paprika is its visual design. The movie is a stunning visual masterpiece, with vibrant colors and fluid animation that effectively captures the surreal and dreamlike quality of the story. The use of imagery, particularly the recurring image of a parade, creates a haunting and mysterious atmosphere that adds to the movie’s overall impact.

The movie also explores complex themes, such as the nature of reality and the potential dangers of technology. The idea that our dreams could be manipulated to control our actions in the real world is a fascinating concept that raises important questions about the ethical implications of new technologies.

The character development in Paprika is relatively minimal, with most of the focus placed on the story and its themes. While some viewers may find this lack of character depth to be a weakness, it does not detract from the movie’s overall impact.

In terms of pacing, Paprika is a fast-paced and engaging movie that keeps the audience on the edge of their seats throughout. The plot twists and turns in unexpected ways, and the movie’s climax is a thrilling and satisfying conclusion to the story.

Paprika is a highly influential and visually stunning anime movie that explores complex themes related to the intersection of dreams and reality, the dangers of technology, and the nature of reality itself. The movie’s exceptional animation and storytelling have made it a cult classic among anime fans, inspiring new generations of animators and filmmakers to push the boundaries of storytelling and visual design.

The movie’s unique blend of surrealism and reality, coupled with its exploration of complex themes, has left a lasting impression on the anime industry and continues to inspire new generations of creators. The impact and legacy of Paprika are a testament to the movie’s exceptional animation, storytelling, and visual design.

From the audience’s response to the anime, to the criticism and controversies surrounding it, to the awards and nominations received by the movie, Paprika has made a significant impact on the anime industry and popular culture. Its enduring popularity and cultural significance ensure that it will continue to be a source of inspiration for future generations of anime creators.

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