If April has a connection with love, it must be their weakness and longevity with each other, and it must be weak to be as long as a spring afternoon dream.
The family farewell at the beginning of "April Story" has an intrusive effect with that casual hand.
So we want to know the person behind the camera.
The poetry of the lens can sometimes not be fixed with words, but we will try.
Shunji Iwai's films are very good at expressing emotions with their hands.
In the movie, Yuno's hand opens the door, and the moment from darkness to light seems to be a metaphor.
In April, a new life begins.
A long shot of the window scene up to one and a half minutes long is a depiction of spring.
Yuno opened the window door.
The long hair that is blown up by the breeze when lying down is a kind of spring poetry.
It was our hearts that were touched.
At this point, we seem to have begun to empathize with Yukino.
The next cherry blossom rain is not optional, it is both a hint and a foreshadowing.
From the shyness of the entrance introduction to the casual ridicule of his classmates, Yuno's university life began.
Life itself is bland, and the camera follows the same, day after day, white descends night after night.
Director Shunji Iwai's flat narrative is actually honing our patience.
Of course, there are also different and joyful fragments that tell us about the diversity of human nature.
When Yukino watched the movie Oda Nobunaga, we thought she had met a pervert.
That's him.
However, things often come as unexpected. Finally the so-called perversion seems to have returned to what we normally thought it would be.
He chased her desperately to return the book.
This is how human nature is, often bending in places where we think we are.
Bland and tedious narratives are often prepared for the final moments. It seems to be true.
And the extraordinary nature of life lies in its ordinaryness.
There's a reason for the bookstore that Yukino often visits, because there's her Yamazaki senior.
In the movie, Shunji Iwai depicts to us the crush relationship between Yuno and Yamazaki with ordinary brushstrokes.
At the end of the film, a blow gives us the climax of the film.
The onset of orgasm was sudden.
Start this way. The feet of the heroine Yuno Tsukizuki.
Corresponding to the cherry blossom rain at the beginning of the movie, Shunji Iwai responds with a summer torrential rain in the climax.
The summer rain is fierce, but the moon running in the rain is full of joy and yearning for love.
The rainstorm and love correspond to each other, promote each other, and touch the delicate mind of each of us.
Paradoxically, the last hero and heroine in the film do not mention love, even if it is only a word.
We all seem to know the outcome.
A summer rainstorm, an umbrella, and a newborn love.
The climax of the film begins with the feet of The Moon, and ending with the full body of the Moon seems to be a metaphor for the great joy of merit.