Mourning and bloodshed, Japan once again wrote the "secondary temperament" vividly. Not only that, the "second sense" with comic colors is also infused with the coldness and cruelty of reality, when the "middle two", which symbolizes freedom and liberation, collides with the reality of "love is unspeakable" and smashes the romantic elements of "chrysanthemum and knife" in one place.
"From Miyamoto to You" is definitely the most "hot" topic in recent times. There are too many plots in the story that can trigger the public's hot discussion.
The main story of the film is very simple, telling the story of how an ordinary and weak social animal man grows into a man step by step, taking on the responsibilities of husband and father. The story is not complicated, but the plot is too heavy. The film is not the kind of pastime that allows you to enjoy a meal, but will make you feel a solid pain from the brutal experience of the immersive social animal.
<h1 class= "pgc-h-arrow-right" > cruel story from boy to man</h1>
The core of the film is definitely miyamoto Hiroshi, a social animal played by Ikematsu Shoryo. The first act of the film throws out the only way from a boy to a man, that is, to fade civilization and cowardice, and infinitely liberate the primitive animal nature in human nature.
The "honorifics", politeness, and overly civilized politeness commonly used in Japanese movies will fade away in the film and be replaced by out-of-control roars between characters, tearing with hoarseness, mixed with blood and tears, and restriction-level scenes of various bodily fluids.
When Miyamoto staggers into the camera, slapping himself in the mirror like a ghost in a public toilet, everyone thinks he is a madman or a demon, but as the continuous flashbacks and interludes heat up the story, we suddenly realize that Miyamoto Hiroshi was originally a social animal form.
The film consists of a series of unpredictable, anti-plot and genre stories. Several of the large plots are impressive, clearly illustrating Miyamoto's journey from boy to man.
The first big scene of the film is the night when the love budding of the male protagonist Miyamoto Hiroshi and the female protagonist Yasuko (Yu Aoi) takes root. Yasuko invites Miyamoto to her house for dinner, but what was a good start went through various accidents. Yasuko's ex-boyfriend Yuji comes to harass him drunk, and he commits rude domestic violence in front of Miyamoto, humiliated with temptation, completely ignoring Miyamoto, who does not dare to speak up and even wants to escape.
After several fights and chaos, Miyamoto declares his "sovereignty" over Yasuko, and Yuji honors him as a child who "loves to say beautiful things", and then leaves in mourning. This was followed by a brief honeymoon period in which Miyamoto and Yasuko enjoyed each other's beauty and forgot the tragedy of life and reality.
But the pair of dead goldfish foreshadows the future relationship between the two. Throughout the first act, the camera is focused on the goldfish raised by Yasuko, and they become a very obvious subtext.
The same is the trapped fish tank in the water, the fish tank was overturned to the ground, dying and struggling, Miyamoto because he did not know how to raise fish, directly filled the fish tank with tap water, resulting in the death of the goldfish, and Yasuko also because of the greed for enjoyment, forgot this taboo, the next morning, the two "buried" the goldfish, but also buried the love that had just taken root and had not yet blossomed.
If Yuji is a spiritual prison on the growth path of the male and female protagonists, then the boss's son Takuma is the beast that brutalizes their flesh.
One of the most controversial scenes in the film is when Yasuko is assaulted by Takuma, while the drunken Miyamoto is too drunk to help Yasuko fend off violence.
The bloody aggression greatly challenges the moral and aesthetic limits of the audience, especially when Yu Aoi, who is usually portrayed as a sunshine girl, is crushed under the body of a huge actor with a rugby hobby, and the camera deliberately peeks from a low angle and puts the three people under one frame.
The brutal Takuma, the struggling Yasuko, and the childlike Sleeping Miyamoto, the same frame of the three may be one of the most brutal shots in recent years. Overnight, Miyamoto's relationship with Yasuko changed completely. Miyamoto is forced out of his comfort zone to use the bestiality of violence to regain self-esteem and save love.
<h1 class= "pgc-h-arrow-right" > a game of cultivation from woman to mother</h1>
The main story of "From Miyamoto to You" is indeed the growth of the male protagonist Miyamoto, but his growth is actually passive, helpless, and he fights for his life after being forced into a desperate situation.
And Yasuko has an important place in Miyamoto's animalistic "fission", so that at the end of the film, miyamoto, who has a great vendetta, will say the love motto of "You are my enemy". It is not so much that Miyamoto was surrounded and suppressed by Yuji (spirit) and Takuma (body), but rather that Yasuko reversed education and completed Miyamoto's cultivation game from boy to man.
In this confrontation between the sexes, the dominant power is always Yasuko, who is the magnetic field center of the love and marriage of the two people, emitting a huge gravitational force of "landing reality".
Yasuko looks a lot like the traditional Japanese weak woman, but in her bones she is very rebellious and wild. Therefore, she can easily conquer the hearts of Miyamoto's parents, and win her father's approval of marriage with a soft way, and after encountering violations, she dares to rush downstairs with a knife in an attempt to burn the jade and give herself a justice.
The cowardly Miyamoto, under her constant "stimulation", constantly finds Takuma to take revenge. The first time I was knocked down by the "second kill", I broke several toothbrushes and couldn't stand up in pain.
Fighting with a great asymmetry of strength is humiliating and stupid in the eyes of others.
Takuma, a symbol of wealth and status, uses his body to try to make Miyamoto realize the reality that there is no fairness in the world, and that no matter how hard you try to struggle, you will not change and you will not see the results.
The climax of the film is act III. Miyamoto is in a building with Takuma Dead Pit.
The original one-sided battle, because of various accidents, the balance of victory and defeat quietly tilted.
But after Miyamoto gave up everything, including life and dignity, the method of the next three abuses, and the death-defying stalking, he finally "defeated the strong with the weak" and achieved a Jedi counterattack on life.
But what he remembers vividly is not the ecstasy after the victory, but the huge pain of being torn apart all over his body, which is the scar left by the hard blow of life and the honorary scar of the boy's transformation into a man.
The bloodied Miyamoto finally had the courage to say to Yasuko: Marry me. And Yasuko, who was pregnant with hatred and remorse, finally forgave Miyamoto's weakness and ignorance. This game of female vs. male cultivation has completed the stage of passing.
"From Miyamoto to You" is a metaphor for growing up in the context of Japanese society, and it is also a gender differentiation representation of love and marriage.
If Miyamoto's juvenile temperament pushes violence and determination to the extreme, then Yasuko's tree-like slenderness and instability make the final tenacity appear subtle, three-dimensional, and ingenious.
The love in the film does not give way to the struggle between the characters and reality, nor does it become a dramatic propeller. On the contrary, the film presents the "disenchanted" nature of love, showing its extreme fragility and the blood and pain that needs to be paid for the rooting and stability of love.
<h1 class="pgc-h-arrow-right" > a conciliatory fit that cannot change the outcome</h1>
From mourning to burning, "From Miyamoto to You" will definitely make your blood boil. For example, after Miyamoto had an epiphany, he rushed to yasukuni and made a cathartic confession in front of everyone; for example, after reversing the war situation, he dragged the "booty" Takuma to his lover to ask for credit and atonement.
Miyamoto proves his existence and what he means to Yasuko with violence and animalism. As long as they are alive, they are strong. After all, as long as you live, you are still on the way to the story.
But what Miyamoto swore to die for was not dignity and value, but only the normal breathing of life. Seemingly intense stories, the bones are still pessimistic, lonely, and desperate. After a fierce fight, blood and tears were paid, and finally the body and soul were still sacrificed, the enemy was no longer a figurative person, Takumoto disappeared, and even Yuji stopped "parasitizing", but Miyamoto honestly dedicated himself to work after becoming a man. It turns out that the transformation from boy to man is nothing more than a complete "social animalization".
Time has passed, and the two people who were originally in the lightning and thunder and heavy rain can finally snuggle up on a romantic snowy day.
I thought that the beauty could be frozen, but the director once again pulled everyone back to reality. A sudden birth once again brought the two back to the "beast" state, and the next generation became a chip for each other's dreams, maintaining a delicate but firm umbilical cord, just to avenge the numbness of stopping the bleeding, hugging, obeying, and continuing to prepare for the next round of flesh-and-blood conquest.
How about the burning, the mourning in the bones, let people watch the whole film for a long time can not be withdrawn. Because there are still thousands of "Takuma" and "Yuji" on the road of growth in life, and we can't guarantee that we can incarnate into the bursting Miyamoto and die with life at all costs.
A tougher, longer, more brutal battle called "life" is giving off sneers not far away. Do you lie down and enjoy, or do you stand up and resist?