Satoshi kon trains his thematic points of interest on collective societal insanity in paprika, an anime dream noir (based totally on a popular novel with the aid of yasutaka tsutsui) that plays as a ninety nine-evidence distillation of his fantastic tv series paranoia agent. Kon trusts overtly in dream logic to guide his inquiry into the increasingly blurred traces setting apart man and device.
His hyper-sensible drawing style lends itself nicely to the film’s edgeless wonderland, in particular in a bravura pre-credits collection wherein paprika, the peppy dream-detective alter ego of the bloodless-as-ice dr. Atsuko chiba (megumi hayashibara), courses the tortured detective toshimi konakawa (akio ohtsuka) through a sequence of habitual nightmares—one among which manages to out-malkovich the identification-ruptured stylings of spike jonze. Even though his films are visible stunners (see specially paprika’s chaotic recurring set piece: a confetti-weighted down parade of home appliances overseen with the aid of a big mound of lifeless-eyed porcelain dolls), kon is greater obsessively worried with the mental triggers that make his characters tick. In kon’s international, movement is an afterthought, a necessitated prerequisite that cloaks his real, arguably extra profound intentions.