Tetsuya Nakajima didn't give the audience too much time to react
. Core: The disappearance of Kanako
makes the audience
fall down like Alice while looking for Kanako , and
see distorted pictures flashing in front of them.
Front for Confessions (2010) is not the same,
this ki He suspense although unified (Kanako right where),
but the topics discussed very scattered,
family relationships, school bullying, shady politics, lust indulgence, etc.,
plus the splicing deliberately Disrupting the timeline,
the word cards with black characters on a white background kept appearing,
but they did not achieve much of the effect of arranging the narrative line.
The amount of information in each scene is very huge. If you are not
careful, you can easily get lost in the magnificent and dazzling picture.
Moreover, the number of characters is large,
and the proportion of the scenes in the script is not true. You
may think that it is just a role in the scene. ,
but it is the most important piece of the puzzle in the final piece of the plot.
The above points make me think that Tetsuya Nakajima’s narrative in Yuki is problematic. There are
too many side branches.
The part about the father searching for his daughter, the part about the
bullying boy and Kanako in high school , and the part about the
police are the main three lines. The relationship between each other is low,
and even the overlapping of characters is not high.
The common point of the first two lines is Kanako,
and the common point of the latter two lines is Fujishima Showa.
Although they are cut separately, the stories are wonderful.
But together, they have to constantly switch between the story and the character's point of view,
and the character's personality is extreme, close to being mentally ill, which
also makes Yuki's character, compared to the twisted but "excusable" confession. "The perverted teenagers and mothers
seem to be more difficult to empathize with.
It's a little bit worse as above,
but I don't think Nakajima Tetsuya has lost his ability
to tell the story,
and it's not that he can't tell the story well, but he didn't want to make this film as neat as the previous one, so
he gave up the pressure of shooting Certainly the big "Attack on Titan",
turning to this 渇き, perhaps for the demonstration of his experimental attempts and bad tastes.
The American cartoon style title can see his banter.
All kinds of KILL and FUCK are stabbed on the screen,
as if a subversion of the hero and police detective image of "Father Saves Daughter",
and also announced the film. Either kill or fuck people, nothing else.
As the film of Tetsuya Nakajima,
the film with the most deaths, the blood plasma of this film is broadcast uncontrollably. The
wounds, internal organs, and residual limbs can almost smell the fishy smell across the screen
. The inconsistency of the narrative tone of this film is also faithfully presented. In the description of the bloody scenes,
sometimes it is like Quentin Tarantino's insolent spraying, and sometimes it is like
the extreme realistic pain of flesh and blood.
Ling Chi and sneering alternately appear,
just like that spoof cartoon title was completely engulfed by darkness at the end. , the
audience can hardly preset the state of mind when watching.
In the core of the plot, Kanako,
strangely, does not appear "independently" in the story.
She personally acts as a narrative subject.
Instead, it lives in the memories of all those related to her,
and exists through "re-narration",
including her father, Fujishima Showa.
Let the audience follow him and piece together "Kanako" from different people's voices. The appearance of existence
is that of a saint who encourages bullied teenagers,
a villain who tempts her classmates to fall into a poisonous cave,
a good baby who can read in the eyes of a teacher,
a devil who will do anything to get revenge,
all kinds of images are her, but she is not. she.
The director deliberately arranged for Showa Fujishima's "Kanako in memory" to appear at the end of the film. While assembling the
last piece of the puzzle,
it also announced the shattering of Showa Fujishima's dream and the impossibility of admitting his own delusion.
"ある era が mad っ て 見 え る の は, 見 て い る world が chaos し て い る か ら だ"
Jean Cocteau's verse as the opening introduction,
Kanako, to the people around him, looks like a distorted fog,
cruel, compassionate, friendly, Despicable and "chaotic",
no one saw Kanako's whole picture, and in the
end everyone blamed Kanako for their own tragedy.
This kind of responsibility may be somewhat justified,
but just as Kanako did not "take the initiative" from beginning to end. Like
his narrative, the cruelty that happened to the people around him was
actually nothing but the embodied consequences of these people's own "desire".
The bullied middle school students are eager to be loved, the
drug addicts are eager to be surrounded by the popular king on campus, the
teachers are eager to play the role of good people, and the
fathers are eager to reproduce the "model family" like a TV commercial.
They find Kanako because of their desire.
But they all left in embarrassment, wishing to kill her.
The world of Kanako, the world of Kanako,
these people are chasing Kanako on the surface, but
in fact they are chasing the "perfect" existence in their hearts,
but like Kuafu chasing the sun, no one of them really chased after them in the end. "eager".
And Kanako, this demon/angel,
has a shell-like smile from beginning to end,
watching these people either love her or hate her,
come and go,
but she has long been shell-like noncommittal.
http://chemistrysucksguy.blogspot.tw/2014/10/blog-post.html
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