The walls of my house are blue, and after the projector was turned on, a blue melancholy shrouded the film, and this melancholy shrouded the next two hours of the film.
Let’s talk about the shooting of the film first. This is a wide-screen film, and it is this wide angle of view that perfectly shows several scenes in the film.
1. The lush alpine meadows may be more lush because of the blue background. The lushness has reached the realm of sadness, because it is so green that it feels picturesque. When the wind blows, the photographer chose to let the wind blow. Cross the narrow diagonal line. A line of sparse small trees in the valley, clicked on the picture, stretched to the foot of the mountain, so that the picture would not be monotonous because there was only grass. The little trees gave life to the world, but it did show loneliness. Because there are only a few trees. The hero and heroine had an inexplicable and desolate love affair in such a valley. Are they lonely because the world is lonely; or because the world is lonely, so they are
lonely plants, a small rattan table and a pair of rattan chairs. The balcony leads to the interior with a traditional Japanese sliding door, and the outside of the balcony is the opposite tenant, and the building spacing is not large, so this scene is divided into 3 parts. Outside the balcony, outside the balcony, inside the house. Watanabe and Midori are interspersed in the two spaces of the balcony and the house. Seemingly in a private environment, in fact, the window on the opposite building outside the balcony not far away means that the space is not completely private. A space with sunlight, shade, greenery, what does it imply to us? The inside of the house may be each one's own spiritual world, and the balcony is the outside environment. Does the sunshine on the balcony and the vibrant green plants imply the enthusiasm of Luzi? Could the darkness in the house imply Watanabe's inner struggle again...
The characters' hearts are in conflict, and the environment suggests this conflict.
3. The space structure of He Luzi's house is similar to the three-space scene mode, which is used many times in the film.
The corridor where Watanabe and Naoko met, the inner side of the corridor is dimly lit, and the light and shadow in the corridor are mottled. The lotus leaves in the pond outside the promenade are in a hurry, and a fish is struggling in the shallow water. I think this is still an indication of a state. The inner struggle does not have to be at night and in the dark. Struggling under the scorching sun is restless, and struggling at night is lonely. What was Watanabe struggling with while reading in the promenade? Suddenly I saw Naoko...
4. After Naoko died, Watanabe was struggling at the seaside. However, the scene was not the dark sea that we usually see, but a small bay. into it. In fact, it's like the talk of Watanabe and Naoko. From the outside, it looked like a sea of lust, and then, it was just like a scene, nothing broke through, in each other, closed and melancholy, Naoko committed suicide, and Watanabe's extreme pain shrouded.
5. The light of the whole film is always soft and full, and we see strong contrasts of light anywhere... This is a kind of sadness... This kind of pain is always present, but it cannot erupt and pour out, so, just Like full and soft light, sadness is full, but not so sharp, like a throat... The light of the whole movie is always soft and full, and we see strong light contrast anywhere... This is a kind of resentment Sadness... This kind of pain is always present, but it can't erupt and pour out, so, like a full and soft light, sadness is full, but not so sharp, like a choke in the throat...
6. The sex in Naoko's family... This is the most full sex in this movie. By running aimlessly in the city, embracing in the rain (of course, even if I haven't read the novel, I feel that the foreshadowing of the movie is a bit sloppy, and the emotional life of Watanabe and Naoko is too sloppy) This section still uses 3 spaces The structure of the scene, the close view is a dim interior, the middle view is the balcony scattered with moonlight, and the distant view is the rainy night sky. Even with such a rich scene structure in 3-space, the overall depth of field is still cramped, which I think is a hint of the structure of Watanabe and Naoko's inner world. Rich emotional composition but narrow emotional cognition. This is also a feature of Japanese culture, the rich and cramped inner world of a small country with few people. The sex took place on the night of Naoko's 20th birthday. After blowing out the 20-year-old candle, Naoko has been shrouded in the pale blue moonlight, and the blue sadness is always so gloomy and cold. Naoko refuses to be 20 years old, I don't really understand whether she refuses to grow up, or refuses to forget her memories. It was in this strange blues that the sex happened. What I saw more through the eyes was Naoko's confusion. To be honest, I didn't see Naoko's expectations for Watanabe, and even I felt that Naoko thought that the root that entered her body was not Watanabe, but Kiyuki. When Watanabe asked questions, I felt that Naoko suddenly woke up, entering her body was not Kiyuki but Watanabe, she didn't have any explanation, I could only understand that she was immersed in Kiyuki's guilt. The whole process is a cold, dim optical fiber, which has fogged the silhouettes and backgrounds of the characters, and there is a kind of eerie and ethereal horror. In fact, just like Naoko's strange emotional world, the entire sex scene is also weird. I don't see warm love, only desire emerges from the shell under strange circumstances. Only in the process of sex without love, we can't feel the sweetness and warmth, the cold sex in the blue melancholy and weird environment. Only the body completes the process. Naoko doesn't love Watanabe and that's all.
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