Noriko and Yuka are the daughters of Tetsuzo and Taeko. Noriko is like a spiritual stubborn stubborn, showing the spiritual lifeline of the small town unwilling to be stuck in this. Her rebelliousness is natural, and her longing for the Tokyo metropolis must have a tendency to run-in difficulties with her father. The breeding of the predicament made her stubbornly live in the fists and kicks of the soul, and her mind was as irritable as she met the netizen Kumiko in the toss and turns of Tokyo. .
Sono Ziwen's heroines are often not walking along the path of talent or learning, or walking up the winding path, but more of a marginal person looking for a home in the cross paths. Noriko's right to exist is suppressed by the pseudo-morality of the patriarchal society, and the exercise of her self-command is characterized by natural excitement. Noriko and Kumiko come to Kumiko's house after they become friends. The patriarchal system fiercely questioned their way of life and their vision of survival. Noriko called Kumiko's father her father, perhaps because she wanted to confirm her personality from the new father's designation. Messy and ignorant silence or exaggerated bondage.
Noriko's younger sister Yuka also came to the metropolis of Tokyo. And together with my sister, I witnessed 54 female students commit suicide by jumping on the rails together. This kind of fishy logic of life has a collective unconsciousness, and the blood splattered on the spot gave the sisters life. The bizarre logic that brings the trend, Noriko and Yuka together with Kumiko to play the daughter and mother, is the act of acting for the sake of acting. Everyone wants to be a champagne instead of a wine glass, and everyone wants to be a flower instead of a vase. However, someone will always play the role of the wine glass and the vase. In a landslide society under the sand, all they can do is to pretend.
Since everyone has no right to play himself, he can only identify himself with the life of others. Love is the naturalization and derivation of Japan's small family society, which seems to subvert the rushing pulse of the tide. Noriko and Yuka's father hides in the closet and sees his two daughters for the first time in two years, and they actually play someone else's daughter, and Kumiko plays their mother. Tetsuzo's wife, Taeko, committed suicide when she couldn't see her daughter in the copied pictures.
In the end, Noriko returned to the family, and the photon returned to become Noriko. This return is undoubtedly the individual depression caused by the force of social depression - farewell to the youthful and dazed girlhood and the path toward the return of the umbilical cord. And Yuka continued to drift, and the fluid life continued to embody a resistance force in the mute disorder. Yuka thinks they are all lions, not realizing that it is the life of the ego that is the symbol of abundance and strength. As a soft appearance and an entity full of infinite interpretability, Yuka Ruoyu's rebellious individual thinking is also a dimension of constructing the film's alternative. The ultimate journey film of Kumiko and Toruzo has no explanation, because the interpretation of the human thinking perspective itself is an open intention.
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