In the less than ten minutes before the title came out (estimated), the director used a very modern method to show all the background information and personality of the male protagonist with great precision - continuous screen flying However, the time and space of the past and the present overlap, and the editing is smooth and natural. More importantly, this fast and chaotic form was chosen because the male protagonist was insane, and the background to explain this person was naturally borrowed from this person. mental state. The audience did not gradually get to know him through the progression of each scene, but was fed a lot of information by cramming along his insanity, what this person has experienced, and why he is sitting here to meet us now. This kind of opening was amazing to me, but for other viewers who might not be mentally prepared, it was too coercive and overwhelming.
Such a dazzling expression has always been Tetsuya Nakajima's advantage, and of course it is also his disadvantage. In "Confession", everyone was deeply impressed by Nakajima-kun's way of dealing with violence with cold contrast, while "Crime of Thirst" follows the tagline of the whole play - "a chaotic world is caused by confusion of thoughts". , into a comic-like frenzy. The multi-time-space staggered pair-cutting technique used in the opening scene also appeared N times later. The whole scene lasted for two hours. Except for the last few scenes, which finally slowed down, they all seemed to treat the audience like a spinning top. It's so solid that it's breath-taking.
And the slow rhythm in the heavy snow at the end makes people unable to adapt to it all at once. The ending, which has no plot at all, is more procrastinated because of the slow rhythm, and even makes people drowsy (I didn't realize it at all. It's over!).
Another major part of Nakajima-kun's dazzling skills is dealing with the world of such young people. The theme of "bullying" is so familiar again, but this time a new gameplay is used: the animation mixes narration to show the bullied protagonist's psychology of wanting to escape and escape, and the effect is good. It's a pity that this boy has a very low sense of presence no matter how he shows it. The main tone of his world is blue, and the main tone of another boy who died three years ago is yellow. The camera uses a completely similar but different tone to imply. This boy's inheritance of the previous boy's identity.
In the Party segment, the long exposure in static photography is used to add it to the colorful and wanton picture, and then embellished with a "kawaii" post like a photo sticker, which absolutely intuitively tells you: This is the Japanese youth. Flower world. I really like this kind of combination. Although there are many elements in the MV, it is quite straightforward, and it is a message that can be directly felt without conversion at all. Included in many other passages, close-ups of reading books, looking at photos, are freeze-frame photos, and the interruption of dynamic rhythms is also worth learning.
Nakajima-kun is very powerful. Although the violence of young people in this era should be filled with the influence of many online worlds, he avoided talking about it, because the content is already rich enough to not need to be confused. But of course he did not give up the role of the media in showing the violence of human beings. The warm and sunny beautiful family, the smiling faces of his wife and daughter, which Koji Kosho had remembered countless times, were just pictures on TV in the end. Is it because this ubiquitous media propaganda has added a layer of unwarranted oppression to our real life?
As a director who has always been known for his expression techniques, Nakajima-kun has lived up to my expectations. He is still working hard to explore the combination of Japanese culture and new expression techniques, which is gratifying. However, from the plot point of view, I think this film has misplaced the focus of guiding the audience. It spends a lot of money to expose the fact that "the daughter Kanako who was originally an angel is actually a devil" This development trend is almost It was foreseen by all the viewers, and the discovery process was not very shocking (probably because there was no foundation for the daughter at all); on the contrary, on the "why did Kanako want to be a devil and what did she want?" I don't know. Is the director in the same fog as the audience? The heroine can just say a few "cruel sentences of youth", throw a few winks, and say some shallow logic, can make people fall, and end her fatal demon attraction? Regardless of the performance, the meaning of the character itself is weird.
Plane, this is also a common problem of all characters in the play. The wife and husband Mu Satoshi (representing the evil police) who has been eating lollipops has been laughing and killing them all the time. Except for the protagonist boy who has been chanting the name of "Kanako" like a poem, the little girls and boys who worship Kanako In fact, they all appeared in the same manner; the male protagonist has an inexplicable obsession, just want to find his daughter, even if he finds her and kills her, he must be found. What do you want to say about your unrequited love affair with your daughter? However, Hashimoto Ai's role is quite three-dimensional. Although there are not many scenes, it is a rare role that can empathize with her.
So, throwing away the dizzying experience of the senses, throwing away the gorgeous visual expression, all I see are puppets without souls, just killing and hating at the mercy of the drama network, it is difficult to understand and difficult to understand The urge to reflect. Or, is this the effect the director wants me to feel at all?
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