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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
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！
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。
