The content of "あずみ" can be summarized briefly, that is, violence, violence, or violence. For the 140-minute movie, the fighting scene lasts for about 110 minutes, with blood-splattered fighting running through. Soon after the character appeared, the corpse was on the spot. The cost of artificial plasma in the film is almost raining, and the face of the girl Aya Ueto is often splashed with blood. As for the "dead" characters in the film, it is even harder to count. It is also a work that more comprehensively shows the face of Japanese film martial arts. In this sense, it is worth seeing. The main weapon in the play is the Japanese sword, which can be regarded as the exquisite cold weapon. The swordsmanship has the most scenes. Aya Ueto, like Aya Ueto, has practiced swordsmanship for a month.
Speaking of the theme of the film, "あずみ" emphasizes the perseverance of Bushido, the resignation of death, almost crazy loyalty and sense of responsibility, which are the core ideas of many Japanese samurai movies. On the other hand, "あずみ" is enough to be regarded as one of the "feminist" movies that have been popular in East Asia in recent years, featuring strong women over men. For East Asian women’s social and cultural status traditions, the popularity of such films should become an important phenomenon worthy of research. Taking "あずみ" as an example, female and male audiences have different feelings in the cinema, and there seems to be a certain connection among them
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In "あずみ", Kitamura’s post-modern action aesthetics have been vividly demonstrated: the shadowy multiplayer chasing in the lush jungle, the ink painting-like artistic conception shot by the long-range lens, the modeling and rendering of the confrontation between swordsmen, and the smooth and smooth Rhythmic "manga flow" cutting, etc. Kitamura dealt with the passage of Amo's assassination of Kato Kiyomasa, completely disrupting the narrative space, and lost the concept of time and space like a dream. Amo jumped out of the ocean, cut the goal in two, and successfully completed the task. This variation on Joyce's stream of consciousness is extremely artistic. Such as the bloodthirsty, always dancing, and handsome perverted male "Beauty Maru", the haunting iron ninja "Nagato", the funny monkey skin ninja "Flying Ape" and "Self-Mutilation Three" The hysterical characters such as "Ren Zhong" also left a deep impression on the audience
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