The boy I was close with at the time, as he always did, suddenly turned around in a boring class and said, "You have to watch a movie. It's called five centimeters per second. I'll give it to you tomorrow. You bring the disc. You'll watch it this weekend." After he finished his words firmly, he turned back.
I took the purple CDs home, and in the semi-dark sky on weekend mornings, I watched the footage flickering in the movie, the rambled stories, like a whole adolescence that never ends, you I always thought that it would never end, but when the subtitles of the third chapter appeared, it turned into a montage of several rhythms and rhythms, and it ended in a flash.
At that time, how could I understand the expectation of a stop-and-go train, how could I understand the humility a girl feels when she looks up to the sky after crying, how could I understand the so-called end or demarcation of youth, it should have been like a montage, a few No one looked back after the accent.
I returned the disc and said, "It's boring, I didn't even understand it, but the scenery inside is so beautiful."
So when I watched it again, I could whisper "Sakura Copy" with my companions. Kissing? When I was thirteen years old, I didn't even want to hold people's hands. Japanese children are precocious, but finally, after a lapse of six years, I vaguely understood the loneliness of a train that stopped in a snowy night, and vaguely understood why it was there Seasons, even the heat from the kettle on the station stove, have meaning to the people in the story.
The huge sadness that the male protagonist can't see the future, the sadness that is the background color behind the joy and joy, I can finally see clearly through his eyes.
After all, it’s a movie made by an adult. I only add footnotes to youth when I look back. Otherwise, how can the vague and fleeting feeling that I don’t know what it is, can be clearly captured by a teenager?
I always want to complain about Makoto Shinkai's empty mirrors, trees, railroad tracks, sky, clouds, and a black bird. After watching it too much, I will always wonder if the director uses these to fill the context because of his lack of words. But in this film alone, it doesn't seem to be so obnoxious, but it makes people feel like saying that in the days of youth walking with you, every scene is of great significance.
What I like very much is the part where the two people discuss about deep-sea monsters, and they say their favorite kind of monster together, and then the male protagonist monologues saying "We have the same place in our souls." It's really cute whether it's serious or not. People want to laugh.
As for the second part, I don't really like it. Although girls hide behind walls and pretend to meet by chance, go to the convenience store with the people they like to buy things every day, and cry because they can't say what they want to say, these scenes seem to be my favorite, but I always feel that it is a pity. The background of the space launch center in Kagoshima, if you send the story to me to shoot, I will definitely let the girl monologue when the two see the rocket launch, "At that time I finally understood that it was going to fly out of the atmosphere and fly away. Go to the center of the solar system, there is endless darkness, how lonely it is. The universe is so big, so silent, and we are so small, so this person in front of me is not looking in my direction, what a thing A trivial matter."
I always feel that the original film is too small in this section, although when it comes to young people in youth, they don't need a huge vision to support the world, but I still prefer my way of acting. This is probably the life trajectory that I want to arrange for myself, who is similar to the heroine of Chapter 2, when I look back.
As for the third episode, it was the most hazy episode I watched six years ago. I always thought it was after a few scenes and sang a song, and the movie was over. It's also the MV for the ending song. And that kind of shooting with a few empty mirrors doesn't seem to be pleasing now, and it's easy to make people feel lazy and perfunctory. Fortunately, the mood is finally in place, the music is gripping, and the final effect is almost touching rather than annoying.
And I also vaguely understood that feeling, how long after you pass by the person you once thought was the whole world, you don't necessarily have to look back.
In the final analysis, it takes an opportunity to watch Xin Haicheng. It is best to be on a cloudy and rainy day in midsummer. The person you have a crush on happens to be by your side. The two have nothing to do, and it happens to be broadcast on TV.
Your hair is unkempt and draped over your shoulders, and you take out the soda from the refrigerator. When you open the window, there is the sound of rain and humidity, and the person you have a crush on says, "Hey, this girl looks a lot like you", you Roll his eyes wide.
The background sound is Japanese dialogue and the muffled sound of small bubbles rising and breaking in soda.
When we are young, we should talk about nothing and be quiet.
Ah, youth is so beautiful.
View more about 5 Centimeters per Second reviews
