Dazai said in "Disqualification in the World", I know someone loves me, but I seem to lack the ability to love people.
Since this film, Komatsu Nana will undoubtedly become a new generation of goddess.
The femme fatale with innocent appearance and evil heart can always easily capture the hearts and minds of thousands of men.
Tetsu Nakajima also deserves to be born in MV shooting. With the perfect use of light and shadow and the proper switching of the camera, Kanako, who is wearing a school uniform and smiling brightly on the rooftop, must have left an indelible impression in the hearts of moviegoers.
In the film, Kanako has always been a shining existence under the spotlight in everyone's mind, an existence that countless people yearn for. Boys are crazy about it, girls want to be like that.
She speaks softly and laughs recklessly, but underneath her beautiful exterior like cherry blossoms, she is extremely evil inside.
Selling drugs to friends, instigating people around you to make friends, approaching others to deceive others and eventually destroying others. With a wave of her hand, the man was fascinated and fell into the trap she set step by step. The boy who had always admired her was sodomy, she thought it was funny, she was proud of her playing him with applause.
All of this, Kanako doesn't feel like she's going too far.
Her heart had already died the moment Ogata died.
The party scene is processed into les grands goûts français. The pictures are gorgeous, the colors are bright, and the costumes with flowers are very Rococo style. The camera frequently switches back and forth to create a sense of fantasy, which makes people think of the various parties of the British drama Skins.
Ethereal like a dream. It's Alice in Wonderland. And Kanako is the dreaming Alice.
But that's not me, I've been here all the time, dreaming alone, because it's a dream, so there are no rules, you can do whatever you want, you can like anyone, do anything to the person you like, you can kiss, you can kill.
Kanako said this when confronted by the boy's questioning.
Do you like Ogata?
Yes, I like it. So I killed him to make myself like him more.
Indeed, in order to make herself like Ogata more, Kanako killed herself by self-hypnosis. The smile at the farewell ceremony was the beginning of her revenge.
She convinces pretty girls to take pictures of underworld gangsters and politicians in bed with the intention of distributing them to ruin those who ruined Ogata.
The boy wanted to be Ogata, and he thought that Kanako would love him. Kanako fulfilled him. The pain that the boy suffered was what Ogata once experienced, whether it was being sodomy or dying.
Love してるよ.
she said to the boy.
Love してるよ.
she said to her father.
Love してるよ.
It's that simple "I love you" that gets everyone lost.
Including Kanako.
Everyone is longing for love, hopeless love, hopeless love, unethical love, humble love, all love goes crazy.
And Kanako is the forbidden fruit in the Garden of Eden, a temptation, a desire, and a sin.
She doesn't want to have a love, but her love has already become morbid because of Ogata's death and her father's rape.
The best way to hate someone is to destroy him.
The best way to love someone is to destroy him.
The first and last Christmas of the film echoes, the streets are decorated with lights, and the couples hug and kiss happily. But in such a lively festival, there are always a group of frustrated people, no one pays attention, no one cares.
No one knows whether the people in the church are praying or repenting, just as no one knows whether it is a fall or redemption.
As a post-modern cult film, "Crime of Thirst" is full of violence and blood, and the characters are poorly portrayed. In my opinion, these have little to do with fragmented editing or too many flashbacks, but more because the narrative focus is too weak. The most fatal flaw is that Kanako's evil charm cannot penetrate the hearts of the people. Can she seduce everyone just by relying on her beautiful face, young body and the repeated "I love you"? Obviously not convincing.
But I have to mention that, just like other cult film directors (such as Quentin), Tetsuya Nakajima's soundtrack taste is very outstanding, which is reflected most vividly from "The Life of Suo わ れ Matsuko No Life" and "Confession" that I watched earlier. At the same time, the grasp of color is always just right. Although it is not as rich and beautiful as "The Life of Matsuko," and it is not as calm and concise as "Confession", but in "Crime of Thirst", color is used as a visual language. With the change of the soundtrack, the plot is rhythmically advanced, creating a space between desire and desire. An atmosphere of oppression and despair.
Do people in this world have the power to love?
We want to love and be loved.
We yearn for love and resist love at the same time.
But why does love eventually become a sin?
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