At the beginning of the film, she said so. In the icy hospital, she was told that he would die shortly after suffering from cancer. She returned home, facing him who was still walking on the inherent life track, heartache and powerless. At night, she couldn't sleep and wanted to call the children, but the moment the call was connected, she choked up again and didn't know what to say.
Finally, she persuaded him to go to Berlin to visit his children. They know that their arrival is a kind of trouble: their granddaughter complains about vacating the room for them so that they can't sleep well, and eagerly asks when to leave; their children are brooding about their partiality to their youngest son in Tokyo; The urban atmosphere of Berlin puzzled them, and they complained to each other in the face of the complicated bus route map that they couldn't figure out. This is not their place, he said with a frustrated face: "Now I just want to go home".
Perhaps thinking that this was one of the few last trips, she persuaded him to leave Berlin and go to the beach. In the Baltic Sea, they cuddled together and wore a coat together. The sea breeze was strong, their hair curled and their backs swayed. Neither of them is good at expressing, so they walked slowly all their lives, and then she watched the sea with him calmly with the thoughts of him about to leave. The drama started on this beach: she, who kept his illness a secret along the way, died suddenly in a small hotel by the beach. The film put a beautiful end to her death. As if they had a premonition, they hugged and danced and even kissed affectionately that night. She was full of dissatisfaction and nostalgia for him, but she couldn't think of the person who should have taken the first step. Instead, she wanted to stay and face the loss of her. world.
He was at a loss.
Back at home in the country, I felt unfamiliar without her: no one prepared an apple for him every day, no one welcomed him into the house to prepare slippers, no one helped him change his coat and put on pajamas. At night, he spread out her light blue sweater and kimono pajamas on the bed, trying to feel her breath still with that flimsy power.
In vain.
To lose is to lose. The postcard of Mount Fuji in a fallen book made him realize that he didn't know her. She loves dancing, Japanese art, and eager to see Mount Fuji, but he has not consciously cared about these, or he knew everything about her a long time ago, but he didn’t bother to understand and explore her preferences. He was just a pretty and unsensual. Stereotypes, like most lovers with thick lines.
He wants to take her to Mount Fuji.
The following story began in Japan. With her clothes, her photos, and her breath, he came to Tokyo's youngest son's house. He was like a reckless intruder, lost his way, and was unconsciously pulled in to watch an erotic show. He felt the wedding ring on his ring finger while taking the bubble bath naked and cried suddenly and uncontrollably. This was the country she wanted to reach, the scenery she wanted to see. When he really came here, far away from his homeland, his miss and nostalgia for her reached the boiling point.
He put her clothes under the coat and opened his shirt under the cherry tree to show her the cherry blossoms. He learned her method to prepare cabbage rolls for his son, and began to pay attention to the Japanese kabuki art. He tried to find the space where she had stayed, and recalled her existence repeatedly in these small details.
At the end of the film, a Japanese girl who takes on the focus of the second half of the film appears. The girl sleeps on the street and chooses to live like a gypsy. She regularly appears in the park every day. Under the cherry tree, she wraps a pink telephone and dances with the shadow, communicating with her mother who is separated from yin and yang in this way. The contact with the girl made him start to look at the world with another philosophical attitude. At the end of the film, he and the girl went to Mount Fuji. As the girl said, Mount Fuji is shy and foggy all the year round, it is difficult to really see it. After staying in the hotel for many days, his illness worsened and he became bedridden. One night he opened the window and found that Mount Fuji, which was on the postcards and candy packages, was quietly in front of him. He got up to face the mirror, powdered makeup, put on her kimono and pajamas, and finally, he appeared at the foot of Mount Fuji in her posture, and they finally came to the foot of Mount Fuji together. Seeing the sky slowly rising, he felt her in his arms, and they slowly danced together. The background was quiet and white Mount Fuji, and a pool of water nearby reflected Mount Fuji and his shadow. At dawn, they finally met again under Mount Fuji, hugged, and left the world together.
The movie is very soothing and beautiful, but also very realistic and cold. There is as much cold as there is warmth. What is warm is the friendship between him and her, and what is cold is the attitude of children towards their aging parents in the real world.
When they were in Berlin, it was their daughter's gay girlfriend who led them to visit, or a girl who had nothing to do with each other. The girl patiently took them to play, and accompanied her mother to the performance of Japanese modern dance alone. In contrast, the indifference of her sons and daughters. The scary thing is that this kind of strangeness with their parents exists not only in their children, but also in their granddaughters a generation away. Massaging the shoulders for grandpa is to get a reward of a few coins from grandma, which is nothing like spending money to do bubble baths in Tokyo. The difference is the behavior without the slightest emotion, which is really sad.
When I was in Japan, my favorite young son didn't understand his father who was already alone. He even complained to his brother on the phone that his father was causing trouble, and mocked his father after drinking that he didn't understand his mother at all. It was also an unrelated and somewhat mysterious Japanese girl who took him to enjoy the scenery of Japan through the journey of life. The loved ones cannot go deep into life, but can share a peaceful view of the scenery with strangers. Is it both sad and realistic? At the end of the film, the children returned to their hometowns and buried the ashes of their parents together. They sat at the table indifferently. Hotel, wearing a woman's pajamas when he died. The girlfriend of the gay daughter finally said: "Maybe he is really happy in the end."
Western families seem to be on the verge of collapse earlier than Eastern families, and the things that maintain family relationships are fading. Maybe one day, I can't say whether I can be absolutely patient with my parents in old age. A little further away, when I get old, I may be in this awkward situation, just like the old man in the film, at a loss, feeling a sense of ambiguity and redundancy in my own existence.
The director of the film is a woman with a delicate focus. Use small objects to express feelings. For example, on the train to Berlin, she kept wearing sunglasses to cover up her crying red eyes. For example, the feeling of loss when the old man walks in Tokyo is tracking an old man carrying a blue plaid handkerchief that is often tied to a roadside railing as a mark. It may be a bit naive to express the change of identity with a kind of clothing substitution, but for him who has lost his lover at a loss, besides putting on her clothes, he really can't find a better way to feel her existence. There are also several flies staying on the tablecloths, pink telephones that seem to be able to communicate with other spaces, oriental mystery dancing art, and cabbage rolls that symbolize the interdependence of the two are unique to female directors. a feeling of.
The whole film goes from the quiet countryside of Germany to the sky in Berlin to the Baltic sea to the foot of Mount Fuji in Japan. The continuous transformation of space never asks for that kind of interpersonal alienation. The greater sadness comes from not being understood by children.
At the end of the film, there are no concessions or compromises. There is no plot of children crying and losing their fathers. Instead, they are objectively and rationally filmed. They chat at the table and continue their usual incomprehension: doubting their parents' thoughts and questioning their parents' behaviors. .
Although the family relationship in the West is not as close and inseparable as in the East, we will all face the problem of how to treat our old parents with the advent of such an age of aging. They will gradually feel that they have left the center of society, and they will feel confused that they cannot find a direction and a fulcrum. We are also impatient, and we don't want to listen to them. But don’t forget, one day, we will all be faced with a situation where we are unfamiliar and at a loss for a world in which we have clearly existed and are still alive.
We are born to be alone.
One day we will be at a loss in such a situation.
I hope you know where to go.
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