Screen Scene: “Paprika”

There are few uncharted realms as mystifying as our dreams. But who knows what manner of untold dangers awaits when opening such a Pandora’s Box?

In the animated Japanese film “Paprika,” this final frontier is about to be conquered by modern science.

Set in a not-too-distant future, psychiatrists are on the verge of perfecting the DC Mini ““ a device capable of allowing doctors to observe, record and enter patients’ dreams.

While awaiting government approval, Dr. Atsuko Chiba and her colleagues have begun treating patients ““ including one particularly overworked detective with a peculiar recurring dream of his own.

However, when several DC Mini prototypes are stolen, they must all race against time to track them down before the perpetrator can inflict permanent damage upon the minds of unsuspecting dreamers.

Highly respected Japanese animation director Satoshi Kon skillfully brings to the screen this adaptation of the 1993 novel by Yasutaka Tsutsui that blurs the boundaries between dreams and reality.

Kon eschews a focus upon the narrative, preferring to envelop the audience in sumptuous visuals where every moment is infused with a dreamlike quality.

The stunning animation plays as much with the audience’s perceptions as the events of the film does with the characters. Each dream sequence demands to be watched again and scrutinized for its many interpretations, visual metaphors and layers of meaning.

Of particular note is the detective’s epiphany about the meaning behind his own dream. It’s a stunningly rendered revelation of the character’s long-buried psychological burden and a clever meta-commentary on the medium of film and its conventions.

However, the constant questioning of what is dream and what is reality may grow tiring for those who would rather the film back up its hypnotic imagery with the clarity of a comprehensible plot. Such viewers will no doubt be disappointed by the rough approximation of resolution the script provides, and left scratching their heads at the motives behind the real villain ““ whose identity could arguably be described as “blatantly veiled”.

Nevertheless, “Paprika” is more than merely an exercise in style or eye candy full of empty calories. Like any good meal, it strives to strike that perfect balance between spice and satisfaction. The film is a lavish dinner ““ a visual feast ““ whose animated substance will take time for audiences to fully digest.

-Dean Leng

E-mail Leng at [email protected].