The way the Japanese deal with their experience is often inverted, which means that if they have a love for their literature and art, this love is easily based on misunderstandings. In this type of film, their unreasonable sense of powerlessness towards the fictional reality can only be forgiven for the depression they feel in their lives. In movies and novels, the Japanese have very limited ways to deal with reality. It is a process of concatenation of three words: repression-escape-dark cool. Westerners don't understand and disdain to escape. Their excitement comes from and reality never speaks. In the collision of retreat, the Chinese often tailor themselves to an escape that you can’t criticize based on their circumstances, while the Japanese’s specialty lies in their beautiful self-satisfaction, which makes people forget their escape and their absolute worship of loneliness. Like a dripper, it continues to lose to the dopamine necessary for us who rely on literature and art to understand Japan. Therefore, you will find that when the film deals with the capitalized "loneliness", inspirations often appear, such as Kyoko's nail polish, Xiaomao's mud, and Xiaoxue's calling shoes, especially Ming's dazedness when facing the outside world just after his mother left. And the thoughts involved in a scarf; I don’t know if the so-called "true story" is the report cited in the first comment, nor is it sure how high the director’s realistic expectations are for it. However, as far as the film is concerned, When it began to involve reality after about an hour, and began to seek communication and paths from the outside world, that is, the stated criminal tendency, the character's heart was simple to comics: between "friends/sin" and "loneliness/freedom" I would rather choose the former; loneliness is like the Mephisto of the Japanese, tempting them to lay down their souls for short-term comfort, leaving their rotten flesh wrapped in a layer of sugar paper, holding this candy mummy facing the sun, and leaving it Give us a fictitious silhouette. In this film, this layer of sugar paper is a flashing light segment marked by a relaxing and pleasant background music; however, perhaps the director also feels that this is dominated by the fear of loneliness Masturbation treatment does not add weight to its realistic effects. Therefore, when Dangming returns to the four-person cabin, the film retracts its tentacles again. This time, the four children will completely give up their interest in contending with reality and continue to move towards self-reliance. In the small world of self-destruction, the film makes us swallow this candy in a packaged way, so it decays and becomes a part of the body. What’s interesting is that if this escape from reality is effective, it will be compressed into adolescence and adolescence. For example, this one, there is also the "Tomb of Fireflies" which is very similar to a certain extent, and the youth they are good at. Monogatari, it seems that they also know that once adults are used as the carrier, repeated avoidance of reality can only make people sensitive to their deliberate and narcissism. The aspects that cannot be passed include "The Disgusted Life of Pine Nuts" and "Five Centimeters Per Second". , And viewers who are not interested in the creative process will think: "What can you ask the child to do?"-They are always lazy to distinguish between the "child" in the film and the "child" in their hearts. At first, I felt that the editing of this movie was not economical enough, because it hovered between healing and reality. It was not pure enough. It would not make up a strange uncle to heal ("Kikujiro no Summer"), nor did it borrow the name of love (Minghe). Girl) to conceal the cruel reality that must be faced, but its loyalty to myself makes me forgive its narcissism, and at the same time give up its ambition to weave reality appeal. The film gradually returned to the heart in the struggle with oneself. After all, it only left the next illusory comfort and the lonely mystery that the Japanese can never solve but are happy to solve forever. At the end, a few children disappeared on the street, almost like disappearing into the horizon of a black hole. The ending without guessing finally fell into the chaotic black hole of reality, just like when the movie ends, the darkness at that moment is like The beginning of chaos.
View more about Nobody Knows reviews
