Paprika (Satoshi Kon) Reviews from Venice to Venice 
Venice Film Festival. Excerpts from reviews of some Italian critics of the animated film Paprika
, directed by Satoshi Kon. "That was a good movie there was no doubt, Satoshi Kon knows how to deploy a few from the shock of the imaginary narrator oblique the present. (...) Worlds he explored language and live in perfect sync. Why Satoshi Kon's film is as visionary dreams exploding in the brains of the characters of Paprika, nightmares of a contemporary tipped in blue / orange lysergic thus foreshadowed, intuitive, like flashes of glitter left reality yet unseen. (...) Paprika moviegoer is triggered, a little 'how those dreams of old amusement park and levels that are genres, detective, adventure, etc., also of a "classic" now perhaps lost (but the citations pay homage to Peter Pan, the Little Mermaid and much more ...). (...) It is the challenge to the present, and its ineffability, and it is the desire (desire) to stay inside, to anticipate precisely to project contrasting obsessions after they revealed who practices censorship (and self-censorship) "
[Cristina Dot. Il Manifesto]." Paprika is a classic example of intellectual animation (which derives ditched the comic), citations and hyper metacinematografica. Kon voluntarily relinquishes the vertigo plunging the viewer into an inexhaustible dream by Escher cartoon worlds of worlds, matriosche infinite solid which frustrate even the most expert. " [Dario Zonta. The Unit]" A story of imaginative fiction, but far the poetry of Miyazaki. "[Roberto Nepoti. The Republic].
Venice Film Festival. Excerpts from reviews of some Italian critics of the animated film Paprika , directed by Satoshi Kon. "That was a good movie there was no doubt, Satoshi Kon knows how to deploy a few from the shock of the imaginary narrator oblique the present. (...) Worlds he explored language and live in perfect sync. Why Satoshi Kon's film is as visionary dreams exploding in the brains of the characters of Paprika, nightmares of a contemporary tipped in blue / orange lysergic thus foreshadowed, intuitive, like flashes of glitter left reality yet unseen. (...) Paprika moviegoer is triggered, a little 'how those dreams of old amusement park and levels that are genres, detective, adventure, etc., also of a "classic" now perhaps lost (but the citations pay homage to Peter Pan, the Little Mermaid and much more ...). (...) It is the challenge to the present, and its ineffability, and it is the desire (desire) to stay inside, to anticipate precisely to project contrasting obsessions after they revealed who practices censorship (and self-censorship) "
