The title is as incomprehensible as the relationship between the two heroines. The too frequent earthquakes and the disturbance of the family by outsiders in the film seem to be more like the themes of the new generation of Japanese directors. But in this film, the return of the outsider to the image of a savior is inevitably disappointing. It is also a high-concept film, and it is also slightly inferior in terms of image capability and theme richness in the benchmark "The Bottom of Silver Lake". How a person escapes from the shadow of the original family is the core issue of the film. At the same time, it also presents and discusses the current social issues in the United States such as family relations, the elderly living alone, and ethnic minorities. The director agrees with the traditional family ethics and uses a large number of wide-angle lenses to imply that the life that the heroine recognizes under the indoctrination of her parents is actually abnormal, which makes it far less than "The Thief Family" in terms of values. The pale pink foam left from the wall is unforgettable enough, and it must be cleaned up immediately with the pour bucket. And, in the rebirth scene of the return from limbo, in the darkness of the world, only two girls have a continuous conversation, and immediately, with the long shot, they repeatedly shuttle between the house and the outdoors, forming 3 to 5 at the junction. The second death was overexposed, until the end, the heroine slowly crawled towards her homosexual like a newborn baby, and identification and reconciliation were reached at this moment.
The low voice of the heroine almost saved this movie, which was always on the verge of distortion and boredom.
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