Weird film, like a mirror that vaguely reflects a blurred shadow in my heart.
Suddenly, Ghana's squinting eyes seemed to float in front of his eyes again; the smile twisted from Kato's lips and nasolabial folds; Yamazaki's fingers that gently twisted when he was held
... I didn’t understand half of it, but I couldn’t help but think again: What the hell is floating outside the Fadu?
Forced to give an explanation, I think, about desire? Or human nature? Or jealous?
When I first saw it, I was more concerned about the homosexual aspect.
In the film, almost every man around Ghana is more or less yearning for Ghana. At the beginning, did the director want to tell us: In fact, everyone has a potential tendency to change to GAY? Just wait for a shadow like Garner to appear in your mind, like a key inserted into a keyhole, then turn gently, and then...
it was 3 o'clock in the middle of the night after watching this film that day.
Ghana is a dark night of cicadas in your dreams, flickering in the corner of your clothes that you can't see but faintly aware of the sound of "Yingling".
I feel that Garner in the film is a pitiful person, and his resentment is wrapped in his indifference and his sneer. (Perhaps I was also hurt by his eye waves.) If there is any charm in the film, there are at least four kinds, Tashiro's wild and wanton, Okita's bright sunshine, and Nishiki oiran's pretentiousness (the one whose face has been painted aunt), and Garner's indescribable silence and eyes. The first three all further highlight the distinctiveness of Ghana. Tashiro reflects Ghana's innocence, Okita reflects Ghana's shadow, and paints the image of Auntie as the only woman to be yearned for (relying on the movement of Yamazaki's hand held by Ghana) with her stiff wood and Hypocrisy mirrors Garner's provocation. If all the women in the world were like that, then Ghana would be a better choice. (I like to believe that the feminist movement can make women more beautiful.)
In the film, there is also a cloud covering the past of Ghana. After talking about his background, the following words emerged from the psychological narration of Tufang: "He seems to have killed people before." "No, it has nothing to do with courage, there are other things..." Aroused our curiosity, let us The person with a pale face and an indifferent expression paid more attention, widened his pupils, and stared carefully. The truth about him and Tashiro, and the last few words he said left nothing but a blank space. Such a perspective and plot setting are really good. In reality, most of the people and things we see around us are like this. We can only use imagination and speculation to sew together fragmented memories to make a so-called "passage".
It's been a year since I watched it.
Picked it up again today and watched it.
What the hell is floating outside the law?
Maybe Ghana is just the mask you wear when your heart desires to walk, that figure seems to penetrate your eyes and heart.
Looking at the plot in the film, I recall the title of the film "Yu Fa Du". Is it a contest between the formless and formless human nature and the rambling laws? The blood flowers of lust and jealousy are interspersed among them, and the brilliance of the blade glitters in the cold-colored night.
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