And Miike Takashi is not a character who has gained a false name. It is said that he is a master of horror cloth, but his horror is different from the vulgar ghost films and suspense films that are widely available in the market. The horror of ghost trick memoirs lies in the distortion of his consciousness, as well as in his mastery and manipulation of fear. 4.6 billion years of love shows the fragility of human nature and the powerlessness of being unable to control one's own life.
Looking at the films produced by Miike, the most impressive thing is the layout of the pictures. Scene after scene, the story is told in the form of a stage play instead of a panorama—one is more dramatic, with a surreal and detached meaning, and the other makes the story more twisted and confusing. In the bizarre scenes and complex character designs, Miike Takashi seems to be the most innocent and pure person in the world. The viciousness and cruelty under his camera are only to describe the harm he suffered - no addition or subtraction, I don't know Bubai was treated like this, and the torture that came without a clue and caught off guard suddenly completely liberated the hidden fears of human beings. It is his ability to accurately grasp human fear that makes him a master of horror?
Another trick of his - carefully arranging scenes and camera movements, spaces and distances to describe the psychological state of the characters is also the key to success. Although the themes of Memoirs of Ghost Art and 4.6 Billion Years of Love are different, and the message to be expressed is also different, he uses similar techniques to bring out the background and personality of each person and create a different psychological level. So that in the two sets, all the characters have distinct personalities and flesh and blood.
Following the director's style, the two films adopted the same presentation technique - around individual events, different characters cut in from different viewpoints and angles, and gradually deepened the level to guide the audience into the core of the matter, thereby revealing the cruel and sad truth. In Guiji Huiyi Lu, Guiji first used the perspective of Komomo's lover to package Komomo's death in a tragic and beautiful way; then, at the begging of Komomo's lover, he expressed a version that was closer to the truth and defended himself; When Komomo's lover's anger goes out of control, ghost trick's conjoined sister (strange hand, hinting at the other side of his human nature/the dark side of his heart) ruthlessly reveals the truth of the matter. Not only is the process of the ghost tricks revealing the truth, the director's narrative is detailed and layered, but Komomo's lover turns from calm to mourning to the final anger out of control. atmosphere of.
When it comes to 4.6 billion years of love, the director also divides the story into three parts (headed by motives), from the testimony of each suspect (Ariyoshi, the warden, Tsuchiya and Tsuchiya's beloved prisoner) from different degrees to reveal the truth of the case, Just like the memoirs of ghost tricks, the events are continuously replayed, and decoding and stopping are added one by one at certain isochronous entry points; the information of the story is conveyed to the audience layer by layer.
His hierarchical deduction-style narrative expression is fascinating, but he also has a unique set of symbols. With a strong sense of the stage, 4.6 Billion Years of Love is the most breathtaking place in the arrangement of its sets. Everyone probably has an established concept of prison. Under the constraints of the situation, Miike simply broke the neat and cramped prison into pieces, and used lights to create a dark and dangerous meaning.
In all fairness, the two movies are equally exciting, but in terms of artistic conception, 4.6 billion years of love is slightly better. To a certain extent, the memoirs of ghosts have the elements of teasing memoirs of geisha, and the elements of "bad gag" are also inserted; but in 4.6 billion years of love, they only tie the characters heavily and very heavily. The lock expresses the helplessness and hardship of people being manipulated by fate.
4.6 Billion Years of Love - Is Death Release Release or Redemption?
Ariyoshi (Matsuda Ryuhei) was raped by a client while working at a Gay Bar. He lost control of his anger and killed the client and repeatedly stabbed his body. After being imprisoned, he was bullied by other inmates, but Kazuki (Ando Masanobu) found peace in his early career. Ariyoshi fell in love with Kazuki after that, but Kazuki didn't know how to react because she lacked love. The two of them met together to discuss where their souls would go after death, but they could not agree. One day, Kazuki was fascinated by the murderer, but Yukichi turned himself in, but he didn't look like the suspect. The motive behind the investigation - the warden, Tsuchiya (another suspect), and Tsuchiya's lover all have their own stories. As time goes by, the more mysteries are solved, the more emotions will be precipitated - it turns out that living with sins is a curse that never exceeds life.
At first Ariyoshi repeats and repeats the authentic "I'm trapped", it is the heart, the mind and the soul; his sin is attachment but powerlessness. Then came the warden——his wife was raped by Xiangyue and committed suicide out of shame. God's will tricks people, the enemy is right in front of her eyes, and she has deep resentment in her heart but can't avenge her, so she can only torture Xiangyue with her words; his sin is Incompetent yet vicious. Tsuchiya, because of rumors, misunderstood that Xiangyue had an affair with his love, and was unable to be self-sufficient in jealousy, and hoped to be killed by him during the killing of Xiangyue; his sin was cowardice and lack of reason. As for Xiangyue, she has grown up in a sinking environment. In order to survive, she has to fight against the world, but her heart is full of guilt (so when she sees her own shadow in Yukichi, she stands up to resist the evil, hoping that Yukichi will not step away from her own squat) , only wanting to die to atone for his sins; his sins are guilt but cowardly and powerless to commit suicide.
Rockets and space (infinite nothingness) and pyramids and heaven (the Egyptians believed that the pyramids could lead the dead to another world to continue their life) are used to describe the place where the soul will go after death; The camera zooms out > zoom in again and again, and each time the zoom out is farther than the last, as if to show that the more we confess, the farther we are from the truth; the warden’s sloping table, framed confessions The room, the clock-shaped cell floor, the prison dining hall like a stage... All kinds of symbols, combined with the meticulous arrangement, give the film a complex and profound meaning. Rather than saying that Miike is a master of horror, it is better to say that he is The master of human nature and psychological tricks is more accurate.
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