"World-class Japanese female director?"
Ask ten movie fans, eight may be confused.
Throughout the history of Japanese cinema, in addition to Tsuruko Saganeda, the first independent director of the film in China in 1936, Naomi Kawase, a regular visitor to Cannes, miwa Nishikawa and Naoko Ogiue, who won the top ten in the shun newspaper, the rest of the fame of the world, basically only a few.
And the one I want to talk about today is more special.
Even if you know the name, it is difficult to directly equate it with the above problems.
Her name is Shikazu Kawa.
With his talent for photography and fashion, he is known as a contemporary artist with the same name as Takashi Murakami and Yoshitomo Nara.
This "real flower wind" is all too familiar.
Sweeping the field from scenery to people, everywhere you pass is gorgeous and charming, living and fragrant.
Among them, she is particularly fond of colorful props such as flowers, goldfish, glass balls and butterflies.
Look at a few classic pictures -
At the age of 25, Shikazu Kawa crossed the line to make a film, and his debut film was shortlisted for the Berlin Film Festival, setting off a new wave of aesthetics.
Apparently she copied the style.
The most well-known "Wolf" and "Hua Kui", like two twin lotuses, reflect the death and rebirth of women struggling between desires with colorful light and shadow.
After the high starting point, controversy ensued.
There are two kinds of representative evaluations -
- Flashy.
-The aesthetic extreme of Japanese cinema is both Shunji Iwai and Shika Kawa. The former fades to silence, the latter thick to explode.
Part 1: "Hua Kui" Part 2: "Wolf"
by coincidence.
Not long ago, her new work was released.
Some people also call it "Small Era Plus", and some people call it a typical presentation of "real flower style".
Take this opportunity to talk about the voice behind this female director -
The Follower
Let's figure it out first...
What is the "real flower style"?
aestheticism.
In addition to the picture, the characters and themes also have their own characteristics.
In an interview, Shikagawa once said that her works are not one-way, but both blooming, withering and decadent, which is the essence of Japanese culture.
So the feminism she expresses is often very contradictory.
First, women are always deeply criticized, but they are accustomed to killing each other.
Second, the pretentious heroine, after shedding herself from "innate inadequacy" (class, appearance), finds that happiness is still in the hands of men.
Third, "The goldfish left the tank, it is not a goldfish." ”
It comes from a line from "Hua Kui".
The core is the sad ending of women's fate.
The charm of "she" is reflected in the resistance to captivity, and the freedom in "her" mouth is nothing more than a cage.
Women are like flowers, withering away in an instant.
In The Follower, several themes are continued.
Produced by Neflix, the show is a 9-episode series set in the entertainment industry.
The first protagonist is Rimi Nara (Miki Nakatani), a 38-year-old top photographer with connections in and out of the circle.
It's almost like the "vest" of Shika Kawakawa herself.
Douban netizens also made a joke...
The opening ceremony was a "Female Future Star" award ceremony, and Rimei took the stage to receive the award and give a speech under the eyes of everyone.
Every word permeates the true thoughts of Shikazu Kawa's heart——
"Work and the happiness of being a woman, everyone wants to be able to take care of it, and I will not give up on either side."
Ambition is really more than just talk.
Look at the details.
In order to make it easier to shoot, photographers basically go light.
When Rimi was young, she insisted on stepping on a pair of "hate sky high", painted exquisite makeup, stepped on the ridicule of a male photographer around her, and took a good picture.
The sky is less frantic, not timid.
Since its fame, its sharp edge has not diminished.
Rimi decided to take time off to have a baby during her busy schedule.
To be precise, it is to be a single parent.
There is no need to get married, no need for support from the man, just pick sperm with good genes.
The process was much more complicated than she thought.
First of all, "cheating" is too lucky.
Rimi used "shooting private rooms" to make a date with male stars, and afterwards she did not conceive.
Second, telling the truth about "sperm and not man" scares away admirers who covet their flesh and prestige.
Rimi slowly lowered her requirements.
If you have feelings, it is not impossible to get married.
God seems to have set up a dead end.
It just so happens that Rimi meets her first love again, and when the old love is revived, she learns that the other party cannot have children.
At this time, it is not appropriate to find other men.
How do you "become a mother"?
Asked inexplicably.
But we tacitly accept that it is given by marriage and love with the opposite sex, which is the real problem.
On the surface, Rimi fights for "motherhood" alone, but in fact, it is the story of countless groups that "do not presuppose the union of men and women" and want to become parents.
The second-place main character, Tsunami Momota (Yori Ikeda)
Newcomer actors in their early 20s, who have been mixed in the pile of corpses for many years, have not played several living roles.
Friends encouraged her, "Static often exudes a sad breath, even if you pretend to be dead, you can make a deep impression." ”
It became a prophecy.
feel relieved.
It's about "static", not "corpse".
Once, as a test stand-in for a well-known actress, when Natsumi was verbally humiliated by the director, she took a bite of the prop chocolate, and her unwilling and angry look was captured by Rimi...
That night, the image appeared on Rime's Twitter account and received hundreds of thousands of likes.
She said: "Beautiful Rage".
Overnight, Natsumi was on fire.
She watched the fans of the social page rubbing up, and her head went blank.
Coming to Tokyo to work hard for a few years, I didn't get as much attention as top-notch photography.
Subsequently, fashion resources came to the door one after another, and Natsumi planned to "save the country with curves", first as a model and then as an actor.
Girls who are new to the sweetness firmly believe that although the number of followers is a virtual number, it determines the real height of life.
The whole line does smell of dog blood.
Natsumi first witnessed the prosperity of the entertainment industry, and then was framed by her opponents with the small white posture of "sheep into the tiger's mouth", and indulged in a state of disorientation and decadence in the bar.
The battle position is also not superb.
Peers just posted screenshots of the records of her brand side in the work group and complained about them on the Internet.
Still overnight, Natsumi's reputation plummeted.
According to Shihana Kawa, the era has entered the 21st century, and the attention of the outside world is equal to the contemporary new female cage.
Especially in the lonely avenue of stars, which is not self-congratulatory, this is the lifeblood of many actresses.
Criticism rose.
Netizens believe that this way to tell the plight of women is really not grounded enough.
E Jun's opinion is slightly different.
Although Natsumi's story is cheesy, the idea of The Real Flower of Theagawa is acceptable.
In feminist themes, "vanity" is an indispensable root emotion.
It means longing and clumsiness, self-confidence and inferiority.
The key is, admit it or not, and be willing to match it with how much effort.
Jumping out of reality, the flashy entertainment circle is the carrier of the most extreme performance.
Make a guess.
The dissatisfaction of netizens should come from the consummation of the ending.
Subconsciously, the "vain man" has to fall to the bottom in order to have the effect of a negative case.
Natsumi's dream of success, from a nameless person to a superstar, is not as profound as Li Lizi in "Wolf" who destroyed most of her skin due to plastic surgery.
Moreover, Natsumi, who perked up in the process, appeared to be enthusiastic and inspirational, and the chicken soup was full of feelings.
From another point of view, perhaps the mood of Shikazu Kawa's creation has changed.
Women don't have to rely on death and departure to bloom their charm, and it is not beautiful to face difficulties.
The third protagonist, Eriko (Natsume Makoto).
More than half a hundred years old, rich in assets, as the editor-in-chief of fashion magazines, the life is full of taste...
slow.
Tear off all the labels, and her glow will not fade.
Confident, calm, strong.
Then, smile.
These are the real weapons of Elizi.
Divorced three times, she is not afraid of gossip, boldly looking for young boys to fall in love.
Usually at work, she always has to clean up bright and delicate, with a burgundy curl.
Faced with her son's doubts, Eriko said, "Fashion is armor."
She decides for herself how others perceive her.
For example, middle-aged and elderly women should be low-key, generous, plain and so on...
No way.
Good for a domineering woman.
At the end, Huilizi has breast cancer and has to remove one breast.
After she finished the operation, she not only wore a deep V shirt as usual, but also found a friend Rimi to take a group photo of her.
"So that I can love my future self well."
In the three lines, the three women have different attitudes towards "attention".
There is avoidance, there is enthusiasm, there is openness.
The only thing that is certain is that Shikagawa did not set up a "cage" for them anymore.
There are only branches interspersed in the middle, faintly revealing the shadow of the past of the "real flower wind".
Mika Nakajima's cameo, at the opening star-studded awards ceremony, was bustling around, but few people cared about the singing on stage.
She laughed at herself, and no one listened to me at all.
In reality, a generation of singers also suffered from Eustachian tube openness, resulting in hearing loss and hovering on the verge of retreat.
On the most serious occasion, Mika finished singing the song by stomping her feet and tapping the sound to find the rhythm.
Popularity is declining and attention is decreasing.
But under the lens of Shikazu Kawa, her colors are still as strong as usual.
Finally, back to the controversy.
The story that Shikakawa can tell in only two or three sentences, and taking great pains to package up a "vase", can be called "a world-class Japanese female director?" ”
Similarly removing gimmicks, she is a diverse artist who focuses on beauty.
Shikazu Kawa's films create new qualities for female characters — flamboyant, flamboyant, bizarre, and even fierce.
These unique women with vigor alone are enough to form an appreciative perspective.
At least, E Jun is still looking forward to her next movie.
What about you?