Introduction: It's a pity that we are separated for every minute and every second. I also married you because I liked you.
The movie "Now to See You" is a work adapted by director Lee Chang-hyun based on the famous novel "Meet in Winter" by Japanese pure love novelist Takuji Ichikawa, the story tells the story of his wife Hideya who died of illness, before she died, she told her husband and son through the form of a manga that she would come back in the rainy season, the next year, his wife Xiuya really appeared on the rail near home, and although his wife reappeared, she lost all her memories, and with the efforts of her husband and son, Xiuya regained her wife identity. At the same time, he also learned that the parting was coming.
The film takes crossing as the main genre model, constructs a fantasy field about love and affection after experiencing life and death parting and then re-aggregates, in the rainy season a year later, the deceased wife (mother) reappears in the present, under the continuous memory flashback and emotional cultivation, with the dislocation of identity and the recognition to create a comedic effect, in the laughter and laughter to reach the tragic core of the reality of life and death. Under the transformation of time and space between the past and the present, the interlocking ropes of fate provide a strict logical system for the film's narrative, and the crossing is no longer a simple libido mechanism, but a joint point at which the story can exist. A year ago and a year later, under the continuous change of perspective, the boy's wishful thinking is also the girl's heart, and the girl's desperate pursuit and unrepentant follow-up are also the miracles that the boy wins with love.
First, the fantasy fairy tale narrative
The film begins with the story of the little penguin and the mother penguin, under the fairy tale narrative, the mother penguin who went to heaven because she was not at ease with the little penguin who stayed in the human world, with the help of raindrops, returned to the human world with the help of raindrops, temporarily accompanied by the wishes of the mother penguin and the little penguin, and the mother penguin returned to heaven with confidence. The story of the penguin is a gift from Xiuya to her son, the opening cartoon situational display builds the first layer of fairy tale color for the film, in the reality outside the fairy tale, under the subjective lens of the son Zhihao, the dim scene in which Zhihao slowly closes the fairy tale book, the gap in the curtain peeks at the father at the funeral, and the fate of the penguin mother is reflected in reality. In the narrative process of the film, the construction of this layer of fairy tale narrative becomes the narrative meta-dynamic of the whole film, providing a reasonable premise for the motivation of the subsequent characters, that is, the fairy-tale resurrection of the dead.
Crossing is undoubtedly the best means of making fairy tales come true, and crossing can create myths, "almost every type of film format implicitly contains a myth that human beings want." The divine discourse formed by the staggering of time and space constructs a surreal fairy tale world in the film. With the blessing of the fairy tale filter, the little penguin mother will definitely return to the human world, and the emotional identity constituted by the fairy tale narrative makes the audience essentially accept the surreal setting, and forms an expectant vision corresponding to the fairy tale, so that the color of the dog's blood through itself is weakened, and its logic is correspondingly enhanced.
In essence, whether it is a penguin fairy tale or a xiuya family in reality, behind the resurrection of the dead is the regret of not saying goodbye and worrying about others, regret, regret and life and death are arrows off the string, and the setting of the fairy tale background makes it possible to make up. The director carves the subject together in the illusion of fairy tales through crossing and amnesia, and uses strict fairy tale logic to make it completely immersed in the false fairy tale world, the film uses fantasy fairy tales to cover the cruelty and logic of reality, death is no longer the executioner of despair, the past Xiuya under the transformation of time and space comes to the present to make up for the regrets of the future, such a fairy tale dissolves the trauma in reality, and also buckles the shackles of fate that the characters cannot break free.
Second, the presentation of binary viewpoints
In the transformation from tragicomedy to warm films, the director did not deliberately avoid the Korean drama routine of "car accident, amnesia and terminal illness", but instead embedded the binary perspective conversion of the male and female protagonists in the routine, and the different Indian image content presented by the perspective conversion presented by the same scene and the story dissolved the subjectivity of the story caused by the traditional single narrative perspective mode, taking the diary as the clue, the same narrative from different perspectives not only allows the story protagonist, but also enables the audience to break the visual restrictions and reshape the future with a God perspective.
The first half of the story is more from the subjective perspective of her husband Youzhen, who has been in a bitter unrequited love in Youzhen's memory, he pretends to borrow a pen from Xiuya without doing anything but is rejected, accidentally knocks xiuya's nose when dancing, and the phone call that is finally dialed under the intertwining of fate are all the processes of Youzhen's one-way rush. As the subject of gaze, You Zhen moves in the direction of Xiuya in his gaze, and this narrative angle makes the story establish a kind of youthful memory. The diary records the past in words, and for Xiuya, who has traveled to the future, the diary is a prophecy book that indicates the future, and the prophecy will be fulfilled, while the same diary, for the future Youzhen, is the key to making up for his absence and reaching the presence.
When Xiuya returns to her time and space again, the camera follows Xiuya's diary to her time and space, and returns to the past scene from Xiuya's perspective. In Xiuya's point of view, before Youzhen 'unrequited love' her, she was already "unrequited" with Youzhen, coldly refusing Youzhen's request to borrow a pen just to hide her stress reaction of preferring Youzhen, Xiuya deliberately pretended to be left-handed just to be able to dance with Youzhen, and the phone that was finally dialed was also Xiuya's long-awaited. Under the transformation of dualistic perspective, all the gazes in the fairy tale are placed behind the curtain in the elegant love and affection, and the encounter, love and stay of the two jump out of the personal waiting of the male protagonist and become the heroine's "even if I lose my life, I will be with you" for the sacrifice of love.
In the penguin fairy tale created by Xiuya, the mother penguin who goes to heaven constantly overlooks the world on the earth through the clouds, Xiuya as the creator, the mother penguin is endowed with the subjective thought of Xiuya, that is, Xiuya is the mother penguin in the fairy tale world, and the gaze of the mother penguin in the sky not only carries the desire to return to the human world, but also gives a strong maternal love depth. At the end of the film, Xiuya returns to the past again, back to the cycle of fate in her time and space, the regret of time and space at the moment has been compensated under the fairy tale narrative, under the middle shot, You Zhen looks up at the sky, and the camera shakes into the air to form a large overhead perspective, overlooking the angle like the "penguin mother" in the sky Xiuya stares at everything on the ground and guards her loved ones.