By Sam Tucker
One of the greatest joys of writing for The Independent Picture House is the diverse range of movies they curate, across theme and time. Some of my personal highlights have included older films like Cruising (1980), which I missed out on due to my millennial preference for movies released after 1999, as well as more recent gems like Freeway (1996), which also feels like a hidden treasure. Now, with their partnership with Anime Expo Cinema Nights, they’re presenting another classic: Satoshi Kon’s final work, Paprika. The film will be shown with subtitles on January 8th and 12th, and with a dubbed version on January 9th.
In my review of The Boy and The Heron, I remember hearing about Paprika before fully understanding its significance. There have been discussions around one of favorite directors taking inspiration—perhaps without full acknowledgment—from this film. On the surface, Paprika and Inception (2010) share a similar premise: a device is created that allows people to enter and manipulate others’ dreams. However, despite both films being fairly plot-driven, they approach the concept from wildly different angles. Inception is fundamentally a heist movie, while Paprika delves more deeply into themes of identity, self-perception, and the boundary between waking and dreaming life.
According to IMDb, the plot of Paprika can be summarized simply:
When a machine that allows therapists to enter their patients’ dreams is stolen, all hell breaks loose. Only a young female therapist, Paprika, can stop it.
However, the final result is far more nebulous—a characteristic unique to this style of animation. The dream worlds in Paprika are deeply interconnected, often held together by rolling masses of objects reminiscent of the Katamari Damacy video game. Paprika, as a therapist, finds herself torn between these worlds—not merely because it’s where she conducts her profession, but because she feels more at ease and confident within the realm of dreams.
Like many of Studio Ghibli’s works, Paprika offers numerous possible interpretations. Some readings explore post-WWII capitalism, the complexities of gender roles, and even the way imperial-style governments can foster control and suffering.
Similar to Ghibli films, the thematic richness of Paprika is inextricably linked to its visual experience. The dream world is a vibrant tapestry, full of details that reward repeated viewing. You could pause almost any scene and find something new in each frame, especially in the recurring visual motifs across the shared dreamscape. While the plot remains somewhat convoluted, it’s ultimately easier to follow and less opaque than many other films in the genre.
That said, it’s best to approach Paprika as more of an experience than a traditional blockbuster. Be prepared for an intense, sometimes bewildering journey. Knowing in advance that the film may be confusing at times will help you better appreciate the unique spectacle it offers, especially on the big screen.
So, as always, head over to the IPH, turn off your phone, and enjoy a nice beverage while feeling yourself pulled along the dream parade!