All film reviews are secondary creations of the film itself. To attract people, film reviews can only use the shell of the film itself to give full play to the writer's strengths and write attractive words as much as possible. Deviating from the way the film makes us feel, the reader notes either humor or touching understanding of the film by critics who have nothing to do with the film at all. Of course, for the vast majority of audiences who do not understand professional film language, explanation and guidance are very necessary, but in the eyes of many professional film critics, the evaluation of a film is not always the same, which may be due to the perspective of interpretation. The difference may also be due to the different understanding of the director's background, but without exception, they will add the correction value that they expect in the work, trying to bring the work itself closer to the look that you expect. There are many ways to do it. : Exaggerate some details that hold weight in one's mind; make a self-approved interpretation of the parts that the director himself has not clearly explained to the work; or start from different perspectives and finally reach a different view on the same issue. Of course, different opinions are good, and consensus can only be reached through debate, but the question is who is the teacher who judges the papers? Never, the director is a character in a powerful position. He speaks first, and then the film critics answer, but the answer is wishful thinking and weak, and it is always so ridiculous to speculate on another person's thoughts based on one person's thoughts . So I pay more attention to those film critics who can babble on the basis of the original work. The second creation must be something new.
I think Takeshi Kitano is very similar to Kim Ki-duk in many ways, or I have watched too few of the master's films. Is there something in common with the master's films? The performance of this film is very restrained and mediocre, but when I think about it, I find that the director expects to say a lot, and every shot is very meaningful. Including the understanding of love, is there really an unforgivable mistake worth repaying with a lifetime? I disagree. Are the dolls a metaphor for one manipulating the other? Can a red rope hold each other and re-establish trust by walking together? Even through spring, summer, autumn and winter, through traffic conductors who adored their idols to the point of blinding them, and through infatuated women who waited for their boyfriends to know about old age. Red rope can't work, only when Matsumoto and Sawako saw the previous engagement in the window at the same time, red rope can save them both.
Also, don't forget to watch Yoshi Yamamoto when watching this movie.
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Dolls reviews
