Yuyue, Tucao~

It was also in Yuyue, because of the elective course of the Academy of Fine Arts, I watched this "The Story of the Rainy Moon", which was very suitable for the occasion. The rare thing about this movie is that it is one of the Japanese movies with ups and downs, and it also has a relatively complete ending. I say this because many times, most of us ordinary viewers feel that Japanese films do not have the Hollywood-style dynamism and the desired ending that everyone imagines, but endless details and seemingly no climax, sometimes ending. It even seems to have a sense of unfinished business, and I don't understand why and why. Of course, this has nothing to do with Japanese aesthetics. But that's not what I'm trying to say.
Although this "Rainbow Story" is a ghost movie, it is beyond my expectations. Japanese things have always been famous for their extremes. He can not only take Xiaoqingxin to the extreme innocence, but also can take AV movies to the top of the world, and he can take thrillers to extreme perverted and disgusting. So when this film takes ghost movies so lightly, it's really not in the situation.
I am not a professional film critic, and I am also a layman for filming. Apart from Kenji Mizoguchi's perfect and weird use of light and his aesthetic principle of "one shot per scene", I would like to rant here as an amateur audience. hindsight. The film is beautiful, there is no doubt that the whole film is full of oriental mysticism, and the atmosphere is also well rendered. But this Japanese version of "The Love of Human Ghosts", "A Chinese Ghost Story", and "The White Lady", the love is too fast! When that man repeated Xu Xian's mistakes and became obsessed with beauty and was reminded by Fa Hai to help, I thought that the "white lady" would do something in the follow-up, but he was so weak that he could only retreat and be driven out. Then their relationship ended. This female ghost is so weak that there is no one! ! You poor female ghost make us all kinds of female ghosts of Chinese nationality feel so embarrassed! We can only sigh in the sky! A spare cry of hate!
But I can understand why the director set her up like this. In the final analysis, there is still no escape from Japan's "emptiness"----no matter how beautiful and sentimental everything is in the world, it is nothing but illusory.

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