Unexpectedly, there are people who, like Toko, compare Chislowski's "Two Lives" with Kitano Takeshi's "Kitano Takeshi meets Kitano Takeshi". After watching Kitano Takeshi's "Big Brother" last week, I wanted to write my opinion on Kitano Takeshi (he is Toko's favorite director), and I wrote the beginning, but I haven't finished it until now.
The reason why I haven't watched "Big Brother" and "Battle Royale" is because most people only know these two works of Takeshi Kitano (haha, Dongguang once again proudly made a minority.), and often sums up Kitano with the word violence Wu's film features and styles. If you have read his works such as "Summer of Kikujiro", "That Summer, the Sea of Tranquility", "Sonata", "Rhapsody", "Fireworks", "Broken Silk Links", etc., you will definitely not be so arbitrary. Even in works with violent scenes such as "Big Brother" and "Beware of the Police", violence is just a means of expressing the theme. If his eyes were only on the bloody scene and the violent nature of the protagonist, Dongguang thought it was because the thief did not capture the king, and if he shot someone, he just hit the co-driver by mistake.
Take "Take Kitano Meets Kitano Takeshi" as an example: the jokes and absurd techniques in it are simply masterful, not comparable to the so-called "nonsense" of Stephen Chow's style (forget which of Imamura Shohei's early films ended at the end. using this method). Of course, if you want to go back in history, it seems to go back to the very early surrealist films in France, such as "Death of a Poet". Among the Chinese directors, Cai Mingliang's "A Cloud in the Sky" has similar absurd techniques, but the handling skills are far less fluent than Takeshi Kitano, and it is not natural enough to match the theme of the whole film and the rest of the techniques, making it a bit abrupt. However, Dongguang couldn't help cheering for Cai Mingliang: the first shot in "A Cloud in the Sky" was enough for the director to bear the title of "The World's No. The first absurd scene was so brilliantly shot! .
Back to the topic, Toko believes that the theme of "Kitano Takeshi meets Kitano Takeshi" is similar to Chislowski's "Two Lives of Flowers". A few days ago, I took a quick look at Chislowski's review of "The Flower of Two Lives" at the Film Center, to the effect that this is a purely emotional film, so there is no specific plot to speak of. I hope Dongguang didn't get it wrong, but the plot of the former is far more specific than the latter.
Toko believes that the theme of Kitano Takeshi's film is about the contingency of fate: under the accidental arrangement of fate (the so-called chance encounter), people with the same talent will have different lives. Everything seems to exist by chance, and there is no certainty or necessity; of course, this is not to say that human effort is not important. For example, the four protagonists of "Two Lives Flowers" and "Kitano Takeshi Meets Kitano Takeshi", the former has different births, the latter has different personal encounters (both are not within the control of the protagonist), so that their fates are also completely different. different.
It is a bit similar to the concept of desert in John Rawls's A theory of Justice; also, there seems to be a similar view in "The Unbearable Lightness of Life": the author emphasizes that the reason why Treasa went to see Tomas is because Treaasa thinks they There were six chance encounters in the brief meeting that made her feel that it was a harbinger of fate, that she was destined to meet Tomas and grow old with him.
Going farther, there is a problem with a rambling talk like Dongguang: it is easy to become too far-fetched.
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