For at least those two hours, you're willing to believe that kindness and gentleness are the passport to all difficulties.
Text | July edits | Hu Wenwen
I had several beautiful misunderstandings about Kamakura Monogatari.
The first misunderstanding was to mistake the "DESTINY" on the poster for "DISNEY", and later found that in the beautiful painting style, popcorn flying, and healing Max, it was not to mention more.
The second misunderstanding, the end of the film is infused with the inner core of Orpheus's wife-seeking, but it is not as sensational as the end song of Hikaru Utada, which is touched by goosebumps and a standing salute.
The third misunderstanding, the trailer tells me, is that the film is stable from the chassis to the structure. As everyone knows, the painted gold Cass and the imagination of the far-reaching world can also construct a "dangerous building" that is empty.
This is a movie with a trailer that is better than the main film. Sakai Masato, who can be salty and sweet, is cute and cute, and forms a CP with a weak hand actress to form a "cute husband who knows things and a petite wife". The supporting roles are also pulled out like thunder, the acting skills are ranked in the neon country, and the senior face Ando Sakura who brushes the screen with "Thief Family" ...
The most foul was that it also implanted Kamakura directly into the title, making it impossible not to "giggle" at this heartbeat. Just a stone's throw away, you can enter the world of Tokyo and come out of Kamakura. It was the intersection where Haruko and Sakuragi waved, the Enoshima tram opened the waves like a curtain, and it was also the twilight surprise of a group of strange middle-aged encounters in "Penultimate Love", and it was also the brightness of the four actresses in "Sea Street Diary", which was diluted by water vapor into a faint blank space...
This time, Kamakura became a nocturnal circle of demons and hordes of demons. After people die, they remain in the form of physical ghosts. At the night market, the monsters set up stalls, selling matsutake mushrooms that can make the soul out of the body, and the skin is also very happy. When the police solve the case, they can summon the soul and let the deceased accuse the criminal by himself. Occasionally, there are "poor gods" who are so unlucky that they jump on the beams of the house, making things difficult for the king.
180-line writer Ichise and silly white sweet wife Akiko, after marriage, they settled here. A series of trivial, yongyong mumu, gentle and mesmerizing, outlining the strange and unwinding skeleton of the ukiyo-e, a pair of gods and immortals.
From this, we can see the craftsmanship of director Takashi Yamazaki. In the "Forever Three-Chome Sunset" series, what he is best at is to dissolve the human touch that has been solidified over the years from ordinary streets and alleys and square inches to the point, like the sunset to the point of drunkenness. And the emotional maintenance between people, such as the fur dipped in honey rubbing back and forth, produces a furry sense of happiness.
Of course, this also makes the sense of fragmentation and stitching of the film too heavy, the first half is Kamakura's quiet daily life, and the second half is the cool Harry Potter Adventure Awards.
However, if you change the perspective, do not take the excitement and excitement of the plot as the mission of the movie, but spend two hours to build a grand and delicate world view, in which the story only threads the needle. You will find that this film uses a large structure to explore life and death, ultimate care, unknown fear and the shackles of the world, full of worldly feelings, affection and detachment, trying to answer the proposition of the limits of life.
In the film, there are several branches, there is a great trend of domination: the old woman in order to take care of the paralyzed husband, apply to become a soul hanging in the world, until the end of life, the two together, calmly and contentedly step on the Yellow Spring; there is a middle-aged uncle who died early, not giving up his children and wife, preferring to turn into an ugly monster frog to stay by his side to guard, until another person appears, in the transition between jealousy and calmness to complete the handover.
In order to save his wife's soul, the male protagonist Ichise also went to the underworld alone. As the electricity of the river sailed through the mountains, forests and soils, it was found that Huangquan was not a miserable Yin Cao Di Mansion, but a cave outside the clouds. The most touching thing is that the train arrives at the station, and the front of the platform is crowded with relatives waiting to return.
In this movie, the boundaries between life and death, man and demon, human nature and magic are smoothed out to the greatest extent. Death, as a ritual, is no longer a barrier to block relatives, but a prelude to the reunion after the special journey of man and ghost.
The god of death told Yi se that Huang Quan was just a station for a short rest before opening the next part of his life, and the scene was geometric, all based on personal inner feelings. Imagination thus has physical power.
In the play, Yi Xie relies on his mental strength to wear a strong and sharp, fierce battle to escape from danger, and the setting of animism makes the artifacts that are endowed with emotions also become a talisman of life and death. Outside the play, The projection of Huang Quan subversively heals our fear of death.
Thinking of life and death, no longer unknown, earnestly guarding, and tying the shackles, can we understand the disillusionment with joy. This is also why, as mentioned earlier, Utada's few lyrics are enough to move me, "Whether it is the broadcast announcing the beginning of the war, or the footsteps of the activists, I want to stay in this room for a while"...
The outside world is so noisy, surrounded by war, radicalism, conflict, life, old age, illness and death, life and death, happiness is so profound, there is no arbitration except the counter-evidence of death and impermanence. Our life, then, is only a temporary borrowed time, and our happiness may be just an escape from the world in a vacuum, maintained by this person, this room, this breath.
It can be seen that the lust for life is not reluctant to spend the world of flowers, but it is impossible to let go of those people and things that concretize the great world into tight bonds. As the Goldfinch writes, "We are born of organic matter, and finally we will sink back into organic matter in shame." Halfway to death, to love what death cannot touch is our glory and grace."
The film will finally be released in China on September 14, 2018. I would like to go to the big screen to see how magnificent and magnificent the Yellow Spring, which was inspired by the director's hot spring and then created by phoenix and Zhangjiajie, will show great magnificence.
The world is complicated enough, sit back and watch a simple movie, at least in these 2 hours, you are willing to believe that kindness and gentleness are the passport to all difficulties. The weight of life and death is too heavy, and you may wish to use the magnificence of imagination to give a light kiss to the fearful people.
Kamakura Monogatari DESTINY
Kamakura Stories (2017)
Director: Takashi Yamazaki
Starring: Masato Sakai / Mitsuki Takahata / Shinichi Tsutsumi
Language: Japanese
Release: 2018-09-14(Chinese mainland)
Source| Nandu Weekly
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