Paprika 2006

"The Internet and dreams are similar. They're areas where the repressed conscious mind escapes."

Not for children or the faint of heart.

'Paprika' doesn't hesitate when descending into a trippy nightmare with it's untamed imagination. It's like an anime comic book coming to life in a Salvador Dali style of surreal. Even the square frame can't contain the madness of the dreamworld.

Once the song 'Susumu Hirasawa - Parade' started playing, I knew that things were gonna get weird, real fast.

However, not to say the movie doesn't hold any beauty in it's dreamlike setup. All colors and animation aside, the beauty itself comes from the imagination and the amount of detail Satoshi put into the movie, which was mesmerizing.

The soundtrack's great as well. It's so full of energy and joy that it doesn't matter if I didn't know what the lyrics are actually saying.

I think director Satoshi Kon said it better himself:

"If you look at a dream overall, it's very difficult to discern the meaning. However, as time goes on, there might be certain meanings in the background. Movies that you can watch once and understand entirely -- that is the type of movie that I don't really like. However, if you are able to understand 70 to 80 percent of what's being relayed, and there's still some percentage left that would allow for your own interpretation . . . that's the type of movie that I do like. There might be a certain part that you don't quite understand, but there is a portion that rests in your heart."

R.I.P

I gave this a six out of ten because it never stopped being entertaining, while at the same time, nothing was happening. The hell does that mean? Well, the movie is a mind bender of visual delights, but I never had a clue what was going on.
I mean, the story kind of makes sense, however there is no world building. It's like this is a sequel to a movie that doesn't exist. Maybe this was adapted from a manga, I don't know. Regardless, it is still the filmmaker's job to tell a complete story.
After I watched Paprika I read the synopsis, like, "oh, is that what I just watched?"
Let's see if I can break this down: Paprika is an anime, sci-fi thriller. It operates on literal dream logic, so it is insanity from start to finish. The obvious comparison is going to be Inception, which came out four years after this. So, in that regard, Inception is a better version of this movie. I can also tell that Everything, Everywhere, All at Once was inspired by this.
I get the sense that this movie has a loyal fanbase who love it dearly, but I just didn't get it. I didn't get to know the characters, so I never cared about them. I didn't understand the villain's motivation.
Seriously, I know if this were a series that explored the people and the world within, I'd really like it.
As is, it's just a mess. If you have ADHD, and enjoy bright colors, one-dimensional characters, and don't need a plot, you're in for a treat.

In a distant, familiar future, our dreams can be breached, shared and "hacked" via a specialized piece of hardware. This seems to function as a potent means of psychotherapy, but when a prototype falls into unknown hands, the ramifications are potentially catastrophic. Sure enough, before we've even narrowed down a list of suspects, the line between fantasy and reality grows blurred, smudged beyond all recognition. Surreal, trippy phantoms invade the waking world, drawing fistfuls of unsuspecting day-sleepers happily down the rabbit hole in their hallucinogenic parade through the city. Even more experienced staff members, such as the titular dream agent Paprika, can't always discern tangible from artificial, which makes for some unpredictable twists and a playful relationship with the viewer's perceptions.

The last film of Satoshi Kon's tragically short career, it should go without saying that Paprika is gorgeously animated, with a ridiculous level of detail and a very pronounced, unusually fluid sense of motion. Anime can often lean too much on sudden movements and long, lingering static shots, but Kon's cast is constantly doing something. Their world feels lived-in and awake, even when its contents are a mere illusion. Ferociously creative, proudly odd and unrestrainedly beautiful, my biggest complaints are that the dialog is often smothered by rambling, incoherent victims and, as a result, the plot can be quite difficult to follow. A wonderful experiment, overflowing with ripe ideas and memorable scenes, but a good fifty percent of the subtitles can be ignored and the resolution leaves something to be desired. Would be a fantastic film to experience on psychoactive drugs.