Paprika is a prequel to Akira.
Paprika's eyes flash red when she realizes something important to discovering who is behind stealing the DC mini.
Paprika doesn't abandon TokitaShe just forces her alter ego to act.
By the end of the movie, Paprika had became completely independent from Chiba, and is her own person.
Chiba is pregnant by the end of the movieMan +Woman + Paprika=Baby.
The dreamgirl Paprika represents sex.Because she represents losing inhibitions, joy, freedom, and sensual enjoyment of life because of her appearance and personality.
Paprika takes place in the same universe as InceptionThe DC mini led to the creation of the Machine used in Inception, after the idea of using somebody to merge their dreams into others by The Chairman made the idea of an Architect. This would mean that Himoru, Osani and The Chairman are now stuck in Limbo, likely forever.
Paprika is Chiba without her "masks"At the end of the film, Paprika asks Chiba whether Chiba is a part of Paprika instead of the other way around. Paprika represents the core personality of Chiba, the way Chiba would be if she didn't suppress parts of herself. All of us wear masks, we aren't the same person at work, at home, with friends, or with family. Parts of our personality get filtered out or hidden. Paprika represents the whole that exists if we didn't filter ourselves.
The dreaming never broke into reality.The devices created some sort of burst effect that made everyone collapse into an interconnected REM state at the same time. They all dreamt reality, at least to start with, and the movie ends with everyone still unconscious. This does mean that anyone in a plane or other dangerous situation is an NPC, only there because someone else expects them to be there, if they even still exist, and that if humanity doesn't collectively wake up, they have a few days (at most) to live.
Satoshi Kon knew that he was dying and made 'Paprika' as his magnum opus.The movie follows a few typical Kon styles (berating laziness and avoidance of responsibility, confusing imagery, violence), but breaks from some of the usual things he does, too. Despite being an avatar for a relaxed lifestyle relieved of responsibility, Paprika isn't seen as a villain. Chief Konakawa is told that just because he has a new dream, it doesn't mean that he's irresponsible or that he abandoned his friend. Films and film history are looked upon fondly, and are even explained at one point, probably a reminder of something he loved.