The theme of "disappearance of urbanites" appears repeatedly in Anbe's novels. The characters face the disappearance of geography, identity, and body. The anonymity of the city provides an infinite labyrinth. unrecognizable person. In Sono Ziwen's film, he created a new type of work called "renting family members" and became someone else. Isn't this also a kind of disappearance technique? But unlike the passive disappearances common in Abe's works, the characters in "Kiko" all disappear voluntarily, they keep defecting and play anyone other than themselves.
The first few minutes of the movie is a common "going to Beijing" story. Noriko, a girl, feels that she is trapped in a small coastal town in her hometown. Her identity consists of school and family, and school and family are two buildings with deep roots. A building of roots, wedging her into fixed coordinates. Noriko is unhappy about the numb daily life in the small town, but like her primary school classmate Mikan, people who can be ignorant and happy in the numb daily life are also enviable, so her unhappyness goes deeper: for her own depression Unhappy and unhappy. When she knew that she had her kind in Tokyo, she quickly packed up and fled her hometown while the power went out.
No Japanese metropolis has the appeal of Tokyo, it's the center of everything and you can find everything you can think of in Tokyo. It is a flowing feast, an eternal golden age.
With the disappearance of school and family, Noriko betrayed her former identity. She ripped off the umbilical cord on the streets of Tokyo at night and became a newcomer with unknown coordinates. But as Kumiko said later, she "came to find happiness," and the memory of her hometown and her hometown—and the simple desires that had grown sturdy in her homeland, remained in her body and could never be fully metabolized. But if she wants to realize her imagination and become her ideal "photon", she must remove the ties of her homeland from her bones.
Compared with Noriko, Kumiko is a person who has no hometown at all. As a comparison example for Noriko, Kumiko is in an ideal state. She does not need to go through the process of defecting and can disappear easily. Kumiko was originally an abandoned baby in a cabinet at Ueno Station. She was born in the anonymous labyrinth of the city. She is a person with no identity, parents, or name. Unlike Noriko, who is bound by the umbilical cord, she is an absolutely free person with no roots under her feet. She is in the business of "renting family members" and easily invades the "family", which should have been a close and stubborn community. An identity, it is discarded at the end, and she is empty from beginning to end, as they say, a "container", she is like a glass container, after pouring what is poured into it, it looks transparent as if it does not exist. It can be said that Kumiko has no desires of her own. Without desires, she has no ego, so she can do anything. This is the disappearance technique.
Kumiko's companions, as well as those 54 girls, they are all demonstrating how easily a person can destroy oneself - there is no long-winded inner struggle, completely casual, absent-minded, not even "suicide", but instant elimination, Annihilation, as if the glass suddenly became absolutely transparent with a sigh of relief, suddenly lost its temperature, and disappeared out of thin air with a splash of blood.
Kiko was shocked by this. She is fundamentally different from them. She witnesses death and burst into tears. This is instinct. No matter how much she wants to be a "photon", she has not been able to achieve what Kumiko called "transcendence". From the empathy and loss of control at the first job to the numbness later, Sono Ziwen omitted many contradictions in the process, and her final failure to defect was exposed to the scene of her biological father renting her as a daughter. In the face of all the hardships to find her father in Tokyo, she shouted "Uncle, I'm Mitsu, I'm Mitsu!" But in that role, she was supposed to play her real name "Kiko", she emphasized that she Her new identity, but achieved a dialogue with her real father, her resistance in turn confirmed the existence of the umbilical cord, and her defection was not thorough enough. So, after a series of Sonoko-style bridges, she returned to Kiko's identity a little too smoothly. She lay in the bed she used to say goodbye to "Photon" in the early morning.
But is this really a "regression"?
Although Noriko was lying on a futon that her father had brought from her hometown, she was in an apartment rented in Tokyo. Although her father had set it up exactly as in the past, this was not her hometown, it was a building drifting on the sea in the city. small house. And the invasion of Kumiko, an outsider, shows that the drama of "renting out family members" is still going on? The father plays the father, Kumiko plays the mother, Noriko plays the Noriko, and the younger sister plays the younger sister. They are fully committed to the new role, and the new role has completely swallowed the past identities. This new family re-formed in Tokyo has become a place without coordinates in a labyrinth, it has no past and no roots, it is fiction.
On the same morning, her younger sister Yuka (called "Yoko" in the organization) ran away from "home" just like Noriko back then, she said to herself: "I broke up with Yoko, it's not Yuka, I'm a People who don't have names, hit the road now." Both her homeland and her home in Tokyo have disappeared, and her back is gradually disappearing down the slope.
Noriko returned to a non-existent home, Kumiko became someone else, Yuka ran away as a person without history and identity, and they each achieved their own disappearance. It's a more complete disappearance than a bloody death—they didn't even leave a corpse behind.
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