Aiming at the "unspeakable" state of human emotions, a three-person relationship based on a teenage friendship is described as the bottom line, describing an extramarital affair that has an irreversible change in the life of the main character.
The story of "Only Sing Your Heart" begins with the showdown between Natsumi, a housewife played by Yuko Oshima, and her husband Atsuhisa (Nakano Taiga), and describes a series of changes in the lives of the main characters later in life. Natsumi thinks that she can't feel the love of Houjiu, and from Atsuhisa's point of view, he can't express his heart to the world, but instead constantly thinks about the tragic moments of his wife's life, and he can't forget "Did the deceased relatives really exist in the world?" Such an ultimate question. The viewer observes each character from the perspective of an omniscient person, and although at some moments the absurdity of the audience in the theater can be heard laughing, it can also force the dilemma that the same character faces in extreme states. "Can Only Sing The Voice of the Heart" mixes a lot of tragic twists and turns, and becomes the cruel theater of life that Hiroshi Ishii also shows.
From the traces of past works, you can roughly feel that Ishii Hiroshi also pays more attention to the emotional problems hidden under the surface of Japanese urban life, perhaps because it is a propositional planning type of work, "Can Only Sing The Heart" is actually like a simple study by Ishii Hiroya, which starts from the character personality, guilt, nationality, or common traumatic experience, any one of the background motivations that may be independently established are mixed in one furnace, mixing too many complex background causes, and the character state can only be pushed to the extreme and then extreme. In fact, yuko Oshima and Taga Nakano's performances are both at a good level, but perhaps for the mood of the character who swoops down like a roller coaster, they are still not enough for the audience to fully accept the story.
In terms of low-budget works, Ishii Yu also still plays a good film effect in some small places. In a scene in which Houjiu takes his daughter out of class, the strong visual sound of the train contrasts with Atsuhisa, who has entered a state of unconsciousness; or in a place where there is a waiting place in the later part, almost mixed with malicious desperate cries flashbacks, and in the character's state of "unable to release emotions", a vague parallel contrast may be reached. But most of the time, the restless narrative uses word cards to express time without restraint, breaking the coherence many times in the short 90-minute length, and the film is actually still full of low completion.
Returning to the theme, the film begins with a long time, including the anxiety that his paper book industry is about to disappear, his self-practice dysfunction of dream compromise, and his sense of powerlessness in communicating with his family, combined with the doubts he has been unable to let go of, whether the person he loves really exists. Hiroya Ishii's choice of topic is still powerful, and although the story looks like it is facing Japan, it still captures a state of life, finding that all the things it cherishes are constantly disappearing without expression, and the position of "I" is slowly moving towards a state of being erased by the world. "Can Only Sing The Voice of the Heart" is obviously unable to fully deal with the whole picture of this problem, but the positive depiction of the state of the characters still gives this film a considerable degree of strength. Text/Orange Cat