David O'ConnellPaprika
November 3rd 2008 04:07
This irresistible anime, made in 2006, is an extraordinary feat of imaginative fiction, one of the most sophisticated, fascinating films of its type. Despite this, perhaps only the most ardent admirers of Japanese animation may be able to forgive some of its frustrations as it delves deeper and deeper into surrealistic territory with its potent hybrid of detective and sci-fi realms.
Its main themes are well fleshed out here by visionary director Satoshi Kon (Perfect Blue, Paranoia Agent) – identity, the abuse of power and technology, and the increasingly unstable relationship between dreams and reality.
A group of research scientists has developed a means of recording and analyzing dreams on something called a DC Mini; somebody has stolen the prototype however and is using it to infiltrate the dreams of his or her victims – by injecting their own, very disturbing ones which blur the boundaries of reality, soon affecting all those involved in the chase.
Atsuko Chiba is a beautiful young psychiatrist leading the group in their attempted retrieval of the DC Mini, but she has an alter-ego, by night assuming the form of Paprika, an alluring but mysterious guide through the dreamscapes of those for whom the DC Mini has been legitimately designed, including Detective Konakawa, who is now leading the police investigation.
The film constantly shifts through different forms of consciousness, often interrelating to the point where it’s hard to know which one we’re watching at times. It certainly makes for a surreal adventure, with many disturbing images – at times you’d swear the unique properties of anime were being first strained through the consciousness of an alternate David Lynch universe!
Like all superior anime films, the world of Paprika is beautiful and compelling to look at with its riot of colours, stylish replication of reality, and moments of unsettling creepiness overlapping from the worlds of consciousness to unconsciousness with creative abandon.
A lot of details don’t necessarily make complete logical sense, though the confusing open-ended nature of dreams ensures that a believable anti-logic of its own is inherent in that. But ultimately Paprika can be appreciated as a treat for the senses, with a compelling visual sense and enough intrigue in the articulate, fast-moving screenplay to ensure entertainment for anyone with even the slightest interest in this art form.
Its main themes are well fleshed out here by visionary director Satoshi Kon (Perfect Blue, Paranoia Agent) – identity, the abuse of power and technology, and the increasingly unstable relationship between dreams and reality.
A group of research scientists has developed a means of recording and analyzing dreams on something called a DC Mini; somebody has stolen the prototype however and is using it to infiltrate the dreams of his or her victims – by injecting their own, very disturbing ones which blur the boundaries of reality, soon affecting all those involved in the chase.
Atsuko Chiba is a beautiful young psychiatrist leading the group in their attempted retrieval of the DC Mini, but she has an alter-ego, by night assuming the form of Paprika, an alluring but mysterious guide through the dreamscapes of those for whom the DC Mini has been legitimately designed, including Detective Konakawa, who is now leading the police investigation.
The film constantly shifts through different forms of consciousness, often interrelating to the point where it’s hard to know which one we’re watching at times. It certainly makes for a surreal adventure, with many disturbing images – at times you’d swear the unique properties of anime were being first strained through the consciousness of an alternate David Lynch universe!
Paprika in full flight!
Like all superior anime films, the world of Paprika is beautiful and compelling to look at with its riot of colours, stylish replication of reality, and moments of unsettling creepiness overlapping from the worlds of consciousness to unconsciousness with creative abandon.
Detective Konakawa has probably read It.
A lot of details don’t necessarily make complete logical sense, though the confusing open-ended nature of dreams ensures that a believable anti-logic of its own is inherent in that. But ultimately Paprika can be appreciated as a treat for the senses, with a compelling visual sense and enough intrigue in the articulate, fast-moving screenplay to ensure entertainment for anyone with even the slightest interest in this art form.
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