On the way to the gate of life and death, Asuna said to the teacher who was eager to save his wife and lost himself: "Izanagi, I learned about Izanagi's ending in the library. What Izanagi saw in the underworld was already A wife who has rotted and turned ugly, but is there any point in bringing the dead back to life?"
When the plot developed to this point, I suddenly woke up. Regarding the meaning of life and death, Brother Cheng has already said it very clearly through the story of Izanagi Izanami: Facing the world of the past, say goodbye. Even when he came back, it was beyond recognition. Everyone will have irreparable loss, don't be attached to the past, face this world without you, say hello.
I think that's the gist of the film. The stars in the title are just aimed at the stars in the world under the gate of life and death. It can be seen from this that the stars in the film's title are born on behalf of the deceased, and the child not only refers to Japanese food, but also to the teacher and heart who chase after love like a child.
Having said the gist of the film, I would like to illustrate my understanding of the different characters and their linear plots.
Asuna and Shun, the heart line is Makoto Shinkai's story about growth, about loneliness, about rebellion, and even about love. Asuna and Xin's family situation is undoubtedly the container of their loneliness. Asuna, who lost her father at a young age, also has the heart of a young brother who lost her brother. On the surface, she is an independent and flawless boy and girl: she has excellent grades, lives independently, and refuses friendship. . In fact, the heart is very empty and lonely: When Asuna mentioned Shun after fleeing with Xin, Xin said: "Don't cry, I...". Then they both covered their faces and wept together. Even a scholar can cry, and even a man can be tender. Investigating its essence, didn't the momentary blankness touch the loneliness deep in the hearts of the two of them? Be careful and start to learn to wander, learn to take responsibility for your own actions; when Tomorrow Cai is no longer hesitant and unable to move an inch. They each made a change, they want to rebel, even if fate tells you, you can't. This reminds me of Kafka on the Shore. Even if fate told Kafka that he would kill his father and humiliate his mother, he would go straight to the depths of fate, hold the throat of fate, and grow up in fate. From the perspective of the heart, when describing the samurai chasing and killing people on the ground, the heart can't help but rush to chase, and the village chief asks Xin: "Why do you want to save her?" Xin smiled and said, "I don't know." Although few people remember it, it directly hit my soft heart. Yes, loving someone is already a physical reflex, I really don't know why I want to protect you.
The teacher's line is more like the self-salvation of a person who pursues the stars. In order to revive the beloved wife, the teacher's obsession at all costs truly makes people lament the greatness of love. From the process results alone, the teacher's love is also the biggest tragedy in the film. From hiding as a teacher to the loss of a right eye, Makoto Shinkai has always told us that ignorant pursuit of the dead will only lead to greater tragedy. It can also be seen from the only symbol of the wife, the music box being accidentally smashed by the teacher, everything about the wife has passed away, teacher, you should wipe away your tears and embrace the future life.
There is a section that I particularly like. The god with the broken arm sings the hymn of death to the cliff. Call death a sing-along, and let nature shake it, to preserve the end of life. I like it, because the greatness of music is not how many people have heard it, but how many people's moving and time it has retained. When the melody sounds again, it seems that time is really not a barrier. Music retains your life and brings you back to life after a few years.
Finally, I want to say that I like this film by Makoto Shinkai. Even the reviews for "Children Chasing Jeeps" sucks. However, the tone and picture of "Chasing" are enough to prove that he is Makoto Shinkai, not Hayao Miyazaki. People who are always comparing, "So, I'm just too lonely." Got it?
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