The boring and old-fashioned plot seems so deliberate, the director's talent slowly came to me in the fragments of deja vu, patted me on the shoulder, and said, be patient, just look in the mirror.
The violent element inside is like the mask of Noh drama, facial paralysis, sobriety, sadness, ridicule all who see it. I can't say anything more about violence, just as Hajime reflexively cut open the heads of all those who attacked him, violence is the extreme exhaustion of looking in the mirror at the sullenness of that seemingly normal guy inside. After Huamei brutally killed almost all the members of the Kakihara group, Hajime ejaculated excitedly, innocent and helpless.
I feel that that moment is far more tragic than Oedipus, the sense of oriental tragedy, the emptiness of Japan's usual "decay of things", the horror of the emptiness that can't be shaken off the skin, and the ghost of desire that is hard to get rid of suddenly came out of the body, laughing, Man Dancing and singing, bright and moving.
Some people see beauty in it, I don't, what I see is only the thrill of being chased to death by wolves in the boundless wilderness, wanting to get rid of one's own shadow, running wildly on the thorns of the city, the emptiness of the soul from the double Released in the festering of the foot - the more empty things are, the more they need to be released, don't they?
I like Yuanyuan very much, he is courting death, he is abused, he opens his comic big mouth in a thick blue article (look at the poster, the corners of his mouth are cut, pull out the two rings at the corners of his mouth, You can open your mouth to the extreme like a jackal), that's one of my favorite shots, far better than those pictures of the intestines and heads flying around, I don't know why, I think of Qing Shao Nayan, and Ukiyo-e - what am I? I don't understand Japan.
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