Cinema Good Read
Compared with the outdated technological settings in the film, or the gloomy storyline (a setting that everyone doesn't want to live but regrets not wanting to live), the beautiful composition and light and shadow make this film still strongly intimidate me in 2020, and it also makes me I forgot that this is a Japanese story about humans throwing themselves into death's embrace, trying to get out of loneliness but getting more lonely, why? Is it because there are too many people in Japan? Isn't it too much annoyance to have too much air to read?
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Isn't it the most romantic thing to escape with company in a world without people?
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Maybe this is why the characters in this film are worried that "Ah, I don't want to live anymore because I'm so lonely and helpless, or should I die", but after dying, they find that "Wow, it's not over yet and there is enough in the underworld. It’s so crowded that you’re driven to the world, it’s a scam.” It actually made me feel a little funny when I saw it, because I think the point is not whether I can go to a better place when I die, but it will be worse if I die. what about the place? However, each of the ghosts in the film is just as unwilling to be deceived into the underworld like the poor deceived worm, and they continue to deceive people who were alive and well into the underworld. It’s almost like direct sales, but with a single One-to-one direct sales (the kind you often see in coffee shops), you know, he may have a lot of stock at home, but he will never tell you that he is wearing a beautiful watch (this may also be He sold a kidney to buy it) to persuade you to join
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"Hurry up and join the Sombra Club!"
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But really, the atmosphere of this film is really good, if it weren't for the fact that I have been frustrated in the process of connecting my logic to this film, the atmosphere is not very good. Go to the story logic (like a lot of people It's like not going to Neshamalan's "Frightening the Sky")
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But the aesthetics of this film convinced me to fall in love with this film. Even when I saw an unmanned arcade, unmanned stores, and unmanned MRT, my first instinct was:
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"Great, no need to pay now." (Of course, it's annoying to think that many services will disappear, for example, because no one is driving the MRT, you have to drive it yourself, I hope the driver has this manual by the seat.)
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Those overly bulky old computer casings that are grayscale or white or black seem a little sexy today, just like how the second female bishop male protagonist adds a web page to my favorites and prints it out with a fresh feeling (thinking I want to see what happened in the film. If it happened, it would definitely be widely spread through various social software channels.) Or the group of pipelines in the research room that I don’t know why they were placed on the ground, the red tape framing the door frame, and the picture. Neatly cut window frames, and spaces that are neatly arranged like a library but can feel lost because of the way the lenses are placed, you create the illusion that you can pierce the entire space in the slits. Entering all this through the window and then through the gap makes the main color shadow look very beautiful once it is dispelled, because this film is very heavy, so it will be obvious with just a little light.
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That's why Kumiko Aso was photographed so beautifully, which is surprising. In a large khaki-based film, with a little shadow and a little light, her face was photographed very three-dimensionally, very beautiful, I I don't know which technical group this is due to, lighting? photography? Background design?
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In short, because of such aesthetic reasons, I can not ask "why do the characters in the film do not turn on the lights on their home computers?"
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I don't know how Kurosawa sees this work, at least I don't think he is shooting only for horror. After all, when I saw the male protagonist touch the human figure that emerged from the shadow, I found that I really touched it. At the time, I didn't feel scared, but felt a little hilarious, because seriously, how could the male lead think that it's enough to catch the ghost, at least this film obviously doesn't think the male lead's logic "Let's be together. ! This way you can fight against..." He was right, but he didn't say he was wrong (although he slowly disappeared in the end, but it lasted long enough)
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Maybe writing that scene like this is in line with the male lead's optimism, but it's hard for us to say that even if the female lead survives in the end, she represents a certain value orientation. After all, who knows that after the death of an optimistic male lead, the female lead will be considered spiritual. If he is not affected, will he slowly turn into a shadow and disappear like him.
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Perhaps the purpose of this liquid display at the end is the purpose, and people are destined to drift.
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But Kumiko Aso is already ingrained in my mind.
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Of course, if I were to shoot today, I think I would choose a more vivid and high-definition way to present the ghosts (meaning more high-definition than people, more vivid than people), maybe make them dance to the music, not on the wall It's full of save me, so how do you deceive people who still want to live to be with them?
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