Every decision is a transaction, with not only benefits but also costs. Willingness is a course that we will take for a lifetime, and the last lesson is that life is abandoned by the world that carries everything.
The extreme coldness of Takeshi Kitano's film is actually an attempt to show the sadness in his heart that transcends the story. The film uses a lot of long takes, which at first distracts people, then makes people stare. So I slowly discovered that the temporality was disappearing. He's not really telling a story, he's telling the audience that no matter how many different stories they tell the audience, they will eventually converge towards death.
The rhythmic and precise space exchange, the overlapping of vertical and horizontal story time, and the messy coordination of music and pictures present a three-dimensional, coherent and far-reaching imaginary space. But the effect makes the emotional climax almost serene, ready to overwhelm and engulf the intellect.
After the movie, in the gap between the black screen, what came back to me was the picture of the blood being slowly cleaned by the cleaners. This highly decorative image is full of red and detergent foam floating back and forth, as if to forcefully deprive me of all but silent viewing. Deliberate, understated, one is sucked into a bottomless pit full of contradictions that stifles fantasy. And that scarlet color echoes the roses that have appeared before, and it is also a saturated red, which connects death and life. In fact, the distance is close at hand, and the change is but a moment.
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