Some people feel like Kon can crawl up into himself and that the focus on the thin line between dreams and reality can feel simultaneously underdeveloped and self-serious. However, I believe the momentum that he achieves here makes it work. At times the exposition slows things down without clearing them up too much, but as an explosion of images it is stunning. The film feels fluid to point of almost coming apart.
I first watched Perfect Blue and was amazed by its flawless editing and animation. Many people compare Paprika to Inception. I personally feel that this film is way better than Inception. Satoshi Kon takes intense and breaking stories and melts it into one bloody mad film.
“On television and through the Internet people are being seduced by the sweetness of illusion and the sweetness of dreams. It is necessary to have that relief, because without it life is too difficult. But I think the amount of fantasy that people are being fed through the media has become disproportionate. I believe in a balance between real life and imagination. Anime should not be just another means of escape.”
Sotto questo insensato e copioso grumo di follia magnificamente colorata si scorge l'apprezzabile tentativo di voler descrivere l'onirico lasciando parlare ciò che meglio lo rappresenta, l'imprevedibilità, dribblando le noiose ciance esplicative (Inception prendi nota). Sono comunque convinto che tutto sia stato risolto con soluzioni troppo facili, poiché esenti dal dover rispondere a qualsivoglia logica narrativa.
Like 'Akira', Satoshi Kon's magnum opus lapses into manic coagulations, but it is an ethos that wilfully diverges from linearity and formula. Kon is an 'aesthetician' who uses transmogrifying visuals to represent the loss of equilibrium in a character's goals or psychological essence. Within the cultural baggage of American film hegemony, it is hard to deal with its garishness, but that is by no means a weakness.