According to the logic of the Abe Public Housing, everyone is bound to fall into the huge trap of capitalism, which is all-encompassing. Whether it’s a cohort who buys and sells sweets in the shade in exchange for a living, a working class who lives by salary, or a trade union cadre with a sense of resistance, they can’t escape their lives in dead cities and muddy wastelands, and they all end up in the end. into the traps laid by the system and be buried. No matter how the ghost who died inexplicably complained, asked what was going on, wore a white suit and rode a scooter, and the abstract messenger representing the state/capital system would not answer a word; although the child saw everything, but... the sense of fate of the social process... ...

From the hindsight of "Daughter of the Dune" and "The Face of Others", let's look at the flaws of the first film adaptation of Hiro Kagawa's Kafka-esque novel by the public house of Abe: the original work wanted to use the universal existence of human beings as the The theme, creating a conceptual allegory, is embodied in a plot that uses class domination and struggle as metaphors; but for audiences who have no concept or sympathy for the political left, this weakens the creator's sense of the essential nature of existence. Whether the perspective can cover the persuasiveness of the whole. Ideology comes first, so that the part of the metaphor is lost. Instead, the audience can clearly see the hard work of the two directors behind the scenes trying to pull the story to the philosophical level.

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The Interpretation and Defects of the Fable of the Trap

Jaime 2022-02-28 08:01:43

Extended Reading

Pitfall short comments

Julia 2022-04-24 07:01:24

Peeping children, skinned frogs, ants on a cake, rough women with messy hair, and Toru Takemitsu's soundtrack, Echiji Kawara Hiroshi is an outlier. Track shooting, close-up close-ups and long shots, so that black and white pictures can also drive the rhythm of the story. The double irony of the real devil and the dead soul, always thinking about the truth of existentialism.
Nedra 2022-04-22 07:01:53

Emissary Kawara Hiroshi's feature film debut is also the first of Abe's public house trilogy. Emissary Kawara Hiroshi received a very systematic academic education in aesthetics, and his identity as an artist preceded that of a film director. As far as Trap is concerned, he seems to be still in the fumbling phase of cinematic expression. European avant-garde films, Anbe's modern literature, left-wing social expressions, and his own aesthetic constructions are all clearly visible, but the combination is rather blunt. This is the weakest film in the trilogy, and it is also a visual The most dull and uninteresting one - no, the only one that looks dull.