标题：The Beauty of Surrealism in Paprika
描述：This is my video essay on Paprika, please enjoy and be sure to watch the film for yourself before the video so as to not hinder your viewing.

评论：
What was the depth in paprika (the characters story)? For me it was just she wasn’t being true to herself, and being strict with everything in life, while her other self paprika had more spice in her life. Later on she accepts everything like her love for the guy and basically becomes whole like a fusion with paprika. I didn’t think much of the murder mystery either I mean I just saw it as a self reflection of the guys past and his regrets of not finishing that movie. To me it wasn’t like he was trying to solve a murder mystery rather he was trying to solve his past trauma
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《红辣椒》（人物故事）的深度是多少？对我来说，只是她对自己不诚实，对生活中的每件事都严格要求，而她的另一个自我《红辣椒》在她的生活中更有情趣。后来她接受了一切，比如她对那个男人的爱，基本上变成了一个与《红辣椒》融合的整体。我也没怎么想谋杀之谜，我是说，我只是把它看作是过去男人的自我反省，以及他对没有完成那部电影的遗憾。对我来说，这并不是他想解开谋杀之谜，而是他想解开他过去的创伤
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Paprika’s dreamlike setup made me tear up from the pure beauty of the intro alone. It’s such a weird movie that ultimately goes nowhere in the end but it still (or because of that) is such a magical, pleasant experience.
I only ever watched this movie because Susumu Hirasawa was credited with the soundtrack and I immediately fell in love with it. After I then found out that the director had died a few years back, I was absolutely devastated. It’s a genuine shame to see the work of someone so hopeful and positive and then find out that you can’t ever thank that person for brightening your life.
But I still want to thank him dearly. So here’s to Satoshi Kon, a man who loved deeply!
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《红辣椒》的梦幻般的设置让我从单纯的介绍之美中泪流满面。这是一部如此怪异的电影，最终毫无进展，但它仍然（或正因为如此）是一个如此神奇，令人愉快的经历。

我只看过这部电影，因为平川秀树被认为是配乐，我立刻爱上了它。后来我发现导演几年前去世了，我完全崩溃了。看到一个人的工作如此充满希望和积极，却发现你永远无法感谢他给你的生活带来光明，真是太可惜了。

但我还是要非常感谢他。所以，让我们向一个深爱着你的人，今敏致敬！
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Hmm not quite. I wouldn’t describe Paprika as a fundamentally ‘Surrealist’ work. It certainly contains surrealist imagery, but there is a coherent narrative throughout that is completely at odds with the nonsensical focus of surrealist art, which often arises out of an ‘automatic’ conceptual approach that seeks to ‘unmask’ the artist’s unconscious. Secondly, the ‘Real’ world and the ‘unreal’ dream world are clearly demarcated in the film, to the extent that they are able to begin to ‘merge’ (hence suggesting their prior separation) towards the end of the film. In fact, the film ends with Paprika rescuing the Real from the Chairman’s expanding dreamworld. Thus the film ends in a state that denies the aesthetic framework of surrealism a space in which it might appear.

I think you’ve missed the mark here. Might I suggest that a better approach to understanding this film would be to look at it through the lens of Baudrillard’s concept of hyperreality? Then the film becomes very fascinating indeed.
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嗯不完全是。我不认为《红辣椒》是一个根本的超现实主义作品。它当然包含了超现实主义的意象，但贯穿始终的连贯叙述与超现实主义艺术的荒谬焦点完全不一致，这种焦点往往产生于寻求“揭开”艺术家潜意识的“自动”概念方法。其次，“真实的”世界和“不真实的”梦想世界在电影中被明确划分，以至于他们能够在电影结束时开始“融合”（因此暗示他们之前的分离）。事实上，影片的结尾是辣椒红从主席不断膨胀的梦境中拯救了真人。因此，影片的结尾是一种否定超现实主义美学框架的状态。

我想你已经错过了这一点。我是否可以建议一个更好的理解这部电影的方法是通过鲍德里亚的超现实概念来看待它？然后这部电影变得非常迷人。
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标题：Paprika: The Storm of Progress
描述：Paprika, Satoshi Kon’s last film, introduces us to a psychedelic and surreal interpretation of the dreaming mind, but are these unconscious visions the only dreams it explores? This analysis focuses on what Paprika might have to say about our aspirational desires, and why we might fear them as much as we desire them.
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今敏的最后一部电影《辣椒粉》向我们介绍了一种对梦境思维的迷幻和超现实的解释，但这些无意识的幻觉是它探索的唯一梦境吗？这项分析的重点是，辣椒粉可能会对我们渴望的欲望说些什么，以及为什么我们可能会像对欲望一样害怕它们。[/toggle]

评论：
This is a fantastic reflection on a film that most people find impenetrable, to the point that even many Satoshi Kon fans write it off as eye candy with little in the way of meaning.
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这是对一部大多数人都觉得难以理解的电影的一个奇妙的反映，以至于很多今敏的影迷都把它写成了一个没有什么意义的赏心悦目的电影。[/toggle]

“And hopefully whenever we chose or have chosen, our future can be informed, instead of controlled, by our past.”
Love that quote!
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“希望无论何时我们选择或已经选择，我们的未来都能被我们的过去所告知，而不是控制。”
喜欢这句话！
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Splendid research. I like how Paprika holds so many meanings and themes that people might focus on one or multiple if can. It inspire me of creating a new character influenced and based on a Vietnamese creation myth and dreams. I thought the english dub was great.
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出色的研究。我喜欢《红辣椒》有如此多的含义和主题，人们可能会集中在一个或多个，如果可以的话。它启发了我去创造一个受越南创造神话和梦想影响和基础上的新角色。我觉得英文配音很棒。
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The parade being the Chairman’s fear of the future was something I did not catch. Ace stuff. I dismissed it as wacky surreal imagery. Big mistake. It reminds of No Country For Old Men and True Detective. In NCFOM, specifically it reminds me of the conversation between Sheriff Ed Tom Bell and a fellow sheriff after the death of Llewelyn Moss. They talk about the times changing, how shocked they are that greed is causing such chaos as drug wars. They’re confused that teenagers are dyeing their hair, wearing piercings, unsure of where it’s all leading to. Then you have Uncle Ellis, towards the end of the film, telling Ed Tom that the world’s always been an awful place. That nothing’s changed. Then there’s True Detective. You have Marty talking to Maggie’s father. Her father is waxing on about how the world’s getting worse, to which Marty replies, “You know, throughout history, I bet every old man probably said the same thing. And old men die, and the world keeps spinning.” The DC Mini would allow men like Ed Tom, the sheriff he spoke to, and Maggie’s father to bring to reality their ideal vision of the world, like the Chairman tried to do, instead of accepting reality as it is and doing what they can.

In another scene, Marty is talking about a feeling of time slipping through your fingers. The feeling that the future is behind you, and it always has been. He relates this to failing to be the family man he needed to be. It’s too late to go back and pay more attention to his daughters, it’s too late to be a faithful husband. He accepts it, and is able to move forward. For Kanokawa, it’s too late to go back and undo his envy of his friend. It’s too late to stop himself from tearing their friendship apart. The only thing we can do is accept who we are and do what we can in the present. Marty thanks his wife for the life they had and says goodbye, allowing him to fully help in Rust’s investigation with no doubts. Kanokawa accepts that he can no longer become the filmmaker he wanted to be as a wide eyed youth, allowing him to help Dr. Chiba and co. with no doubts.

Thank you for this video. I finished the film recently and felt like I didn’t get all I could out of it. This really helped.
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作为主席对未来的恐惧的游行是我没有注意到的。一流的东西。我把它当作古怪的超现实主义意象。大错特错。它让老人和真正的侦探想起了没有一个国家。在NCFOM，它特别让我想起了艾德·汤姆·贝尔警长和卢埃林·莫斯死后的一位警长的谈话。他们谈论时代的变化，他们是多么震惊，贪婪正在造成这样的混乱，如毒品战争。他们对青少年染发、穿洞感到困惑，不确定这一切会导致什么。电影快结束的时候，埃利斯叔叔告诉埃德·汤姆，这个世界一直都很糟糕。什么都没变。还有真正的侦探。你让马蒂和玛吉的父亲说话。她父亲正在谈论世界是如何变得越来越糟，对此马蒂回答说：“你知道，纵观历史，我敢打赌每个老人可能都说过同样的话。老人们死了，整个世界都在旋转。“DC Mini将允许像Ed Tom，他所交谈过的治安官，以及Maggie的父亲这样的人实现他们对世界的理想愿景，就像主席所做的那样，而不是接受现实，尽他们所能。

在另一个场景中，马蒂说的是时间从你的手指间溜走的感觉。未来就在你身后的感觉，一直都是。他把这和他不能成为他需要的家庭成员联系起来。回去多关心女儿已经太晚了，做一个忠实的丈夫已经太晚了。他接受了它，并且能够向前迈进。对于Kanokawa来说，现在回去消除他对朋友的嫉妒已经太晚了。现在阻止他破坏他们的友谊已经太迟了。我们唯一能做的就是接受自己，在当下做我们力所能及的事。马蒂感谢他的妻子，感谢他们的生活，并说再见，让他完全帮助铁锈的调查毫无疑问。Kanokawa承认，他不能再成为他想成为的电影制片人，作为一个睁大眼睛的年轻人，让他帮助千叶博士和公司毫无疑问。

谢谢你的视频。我最近看完了这部电影，觉得自己没能从中得到所有。这真的很有帮助。
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