paprika Tagged Articles at Cinematical

Among the handful of titles Sony Pictures Classics snatched up for American distribution at the conclusion of the Cannes Film Festival, the animated Israeli documentary Waltz with Bashir makes the most sense. While Tyson certainly has potential to alter the public perception of the country's infamous boxer, and Lorna's Silence has appeal for crime fans and art house aficionados alike, both movies could perform well regardless of which distributor picked them up (more or less). Bashir, on the other hand, has SPC written all over it: Relentlessly downbeat and frequently unsettling, Bashir is director Ari Folman's account of his 1982 experience in the Israeli military during the infamous massacre of Palestinian refugees in Lebanon. The animated approach sometimes has a gimmicky feel to it, but that's probably the point; Folman's memories are so foggy that his reconstructions of them seem plausibly unrealistic.

Bashir isn't easy to get into, but you could say that about Thomas Pynchon, too. What we have here is an animated movie for grown-ups, which puts it squarely in SPC's line of expertise. The company has guided many mature animated films to audiences in a manner unparalleled by their colleagues. Last year, talented SPC co-presidents Michael Barker and Tom Bernard commandeered the releases of the outlandish anime Paprika and Marjane Satrapi's Persepolis, and the latter film very nearly won an Oscar. Remember The Triplets of Belleville? That was them, too. These people know their stuff. Listen up, guys: I hear Bill Plympton's new movie is quite good.

I just got back from a brief Christmas holiday to the distant land of relatives and limited Internet access, so my column is just a tad late this week. Nevertheless, I'd like to pick up where I left off last week, in my celebration of those smaller films that lost their way in 2007, either misunderstood, or misjudged, or just never found.

I saw Hal Hartley's Fay Grim in May as part of the San Francisco International Film Festival. It was a sequel to his 1998 film Henry Fool and it had one of those strange near-simultaneous releases in which it debuted on DVD just a few days after it opened in theaters. This technique didn't work at all for Steven Soderbergh's superb Bubble last year, so I can't imagine why anyone would try it again. I found Henry Fool too long with too much navel gazing to be of interest, but somehow Fay Grim worked for me. I felt it was all a huge, deadpan joke that these pathetic writer-types would now be involved in international intrigue. And who is better for a deadpan joke than Jeff Goldblum, with his glaring eyes and sharp delivery?

Do you want to look forward or backward? Out on DVD this week are two Japanese films separated by more than half a century. Animation director Satoshi Kon first made his mark with Perfect Blue (1997), a trippy journey into a pop singer's psyche that transcended time and space. He reversed course with Millennium Actress (2001), which crossed decades to tell the story of of a reclusive movie star, and slid into the mainstream with the much more straightforward Tokyo Godfathers (2003) before returning to more familiar territory with the made for television multi-episode series Paranoia Agent (2003).

His most recent film, Paprika, is a "visually rich tale," wrote Kim Voynar, "about a group of private scientists at a research facility who have invented a device called the DC Mini that allows 'dream detectives' to enter other people's dreams." The DVD includes a "making of" documentary, several featurettes and a filmmaker commentary.

Is it possible to summarize the career of Akira Kurosawa? Suffice it to say that his 1948 noir Drunken Angel was his first step into personal filmmaking and his first collaboration with the great actor Toshirô Mifune. As is their custom, The Criterion Collection has produced a DVD that features a new, restored high definition transfer, audio commentary by Japanese film expert Donald Richie, a "making of" documentary, a new "video piece" on the challenges that faced Kurosawa, and more.

Quite frankly, Wilson Yip's Dragon Tiger Gate is an unholy mess that tries to pretend 40-something Donnie Yen is about half his age -- and that's just the starting point for the foolishness unleashed. It could be argued that the action and the dramatics are intended to be over the top, since it's based on a popular manga, but I think that's probably insulting to the source material, which I haven't read. If you're a glutton for punishment -- or just a sucker for any kind of martial arts action and/or pretty boys Nicholas Tse and Shawn Yue -- you might like this more than I did. The DVD includes an audio commentary by Ric Meyers, a "making of" featurette and deleted scenes.

Anime fans have been waiting to see Satoshi Kon's latest effort, Paprika, since it debuted at last year's Venice Film Festival, where it was up for the Golden Lion award. Since then, the film has played a slew of fests, from the New York Film Festival to Tokyo, from Santa Barbara to Istanbul to AFI Dallas. The film finally gets its theatrical release early this summer (at least in New York and Los Angeles, though if it plays really well in those cities, perhaps the rest of the US will get a chance to see it as well). I caught the film with a packed house at a screening at AFI Dallas, and if that crowd's reaction to the film is any indication, the film should do pretty well here.

The film, based on a novel by Japanese sci-fi master Yasutaka Tsutsui, is a trippy, visually rich tale about a group of private scientists at a research facility who have invented a device called the DC Mini that allows "dream detectives" to enter other people's dreams.

Lots has been happening here in Dallas since the last dispatch I wrote up. I've seen several docs here: Where the Sun Rises, Darius Goes West, and Rape of Europa, and today I saw The Proper Care and Feeding of an American Messiah, Paprika, and Living and Dying. Let's talk about the docs first, because docs are one of my favorite genres. There aren't quite as many playing at this fest as I'd like, and most of the doc screenings have been a bit lightly attended. I've talked to a few locals about this, and what I keep hearing is that Dallas folks haven't really been exposed much to the idea of documentaries as entertainment, as opposed to something you're forced to watch for a class or catch on PBS because nothing else is on and you have insomnia.

So I want to plug some docs I've really enjoyed here so far. Where the Sun Rises, helmed by Grace Phan, is about Xanana Gusmao, former guerrilla leader and current president of East Timor, the world's youngest independent nation. Where the Sun Rises isn't about war and politics, though, it's about the healing power of forgiveness, and Gusmao's journey from hate to love and genuine forgiveness.

Now here's a weird Oscar rule that you probably never knew (I sure didn't): In order for there to be five Best Animated Feature nominees, there have to be at least sixteen eligible titles. The last time this happened was in 2002, when Miyazaki's Spirited Away proved to be the year's best ieffort n animation. (According the The Academy, anyway.)

Warner's Happy Feet, Weinstein's Arthur and the Invisibles and Sony's Paprika have yet to "officially" open, but once they do it means we'll get five nominees in one of Oscars' more colorful categories. (Last year we only had three, and that wasn't as much fun.) In addition to the three mentioned above, the other eligibles are The Ant Bully, Barnyard, Cars, Curious George, Everyone's Hero, Flushed Away, Ice Age: The Meltdown, Monster House, Open Season, Over the Hedge, Renaissance, A Scanner Darkly and The Wild. (What, no Ultraviolet?)

So if you had to pick only five of those flicks (aside from the three we haven't seen yet, of course), what would be your picks as "Oscar material?" If I'm predicting the field, my five picks would be Cars, Monster House, Over the Hedge, Renaissance and A Scanner Darkly. If I'm casting a vote for my favorite: Over the Hedge. Flick made me giggle.