“Are we still dreaming or is it all real?” Feat. Paprika (2006)

Paprika (2006) Sony Pictures Classic

Movie binge-ers get onboard as we revisit one of the most visceral and speculative movies of its time, Paprika by Satoshi Kon. Released in 2006 by the same director as The Perfect Blue, which became a cult classic in its genre of psychological thriller. This movie is anything but what you'd expect.

This movie bridges the worlds between reality and dreams with the help of a device. The initial idea was to use this device for scientific studies and for patients who require help with their dreams. Once the device’s prototype is released, it gets stolen. What follows is a series of bizarre events. With dreams bleeding into reality, is it possible to wake up?

Reflections of self

With each character in the movie, the idea of how one perceives themselves is discussed thoroughly. From Himuro, an assistant scientist who in the want of more puts everyone he has ever known in danger, to Detective Konakawa who has enveloped himself in a hero complex. Just as dreams become more concrete than ever, people start questioning about morals and histories they thought they had put an end to. Ideal selves and projected selves intertwine or they collide, with every character what remains is what keeps the body alive. In the case of Chibe, her alternate self, Paprika is nothing but her want to be warm and likable. For Paprika, Chiba is her extension who has lost her path growing up. While for Tokita, it’s his gadgets that turn into him, his machine which happens to be his creation takes a toll on everything and just like naive Tokita is easy to manipulate.

Our reflections of self are just us focusing on a narrower array of attributes we associate ourselves with. The creation of a public persona is a method of amplifying such attributes at a point and minimizing those that are considered unlikable at the same time.

Guilt and liberation

Everyone has a way of dealing with their loss. For Detective Konokawa, it was stepping into the shoes of a fictional character. A fictional character he helped create. During his younger years, Konokawa was an aspiring filmmaker, alongside his friend. Both of them worked on a small skit of a film about a cop chasing a criminal. He played the cop and his friend, the criminal. His friend was talented and determined and got a chance to be in a film school while Konokawa was left behind. Leaving all his dreams of filmmaking in his friend's hand, Konokawa made peace with himself. Before his friend could ever join any class, he died. His loss left Konokawa hollow.

In the present day he has developed a dislike towards movies and the world of filmmaking, he is a detective now. The same role he played then, he plays now. Towards the end, when the apparition of his friend confronts him, he realizes his pattern. But does he step out? No. But he does seem at peace with what he has achieved. This makes us question if we ever can break free of the guilt we carry or does our guilt helps shape a part of our personality. In a manner, Konokawa’s loss was the reason the day was saved.

Of woman and womanhood

The women in this story, Chiba and Paprika, are an intriguing point of discussion. While Chiba is a stoic researcher who is unable to express her emotions well and Paprika is this highly energetic young woman who can travel freely in anyone’s dream. While the story works towards Chiba expressing herself a bit more, the movie also portrays Paprika as a version of Chiba. Paprika is concerned only with her goal of exploring and curing the loops within people’s dreams. Both of the characters are objectified and specialized either for their unfeeling nature or their young and reckless appeal respectively by their male counterparts. Paprika who is later revealed or hinted to be Chiba’s dream self, is sexually assaulted by one of Chiba’s Colleagues, the assault was directed at being aware that Paprika was Chiba. In the environments, the women weren’t as safe as we found them to be. Even if Paprika knowingly altered her appeal to her clients and intentionally sexualized herself, she is still found at the center of the pit. In terms of Konokawa, who targets the young Paprika and then Chiba, gets to appear like a hero. He kisses the then-unconscious Chiba after saving her, adding to the assault that he was trying to save her from. This appeared like the director was mocking the framework of action movies which reward the heroes by offering them female leads as love interests or trophy wives.

This movie is worth a shot if you wish to explore more such anime movies. Subscribe down below to our newsletter.