"Claude Garcia, 16 years old. My mother ran away when I was 9 years old, and my father was half paralyzed. I have always wondered what an ordinary family is like." , I attribute all the reasons to Claude's unfortunate childhood, just like Shuya Watanabe, the "juvenile A" in "Confession", because of the psychological distortion caused by the behavior of his young mother. But I still underestimated the ambition of the director and the screenwriter. Maybe the family is the opportunity, but Claude is far more brilliant than "Youth A". He also has an uncontrollable desire and must find a perfect outlet, an elegant, But a realistic breakthrough.
The way the first half of the story is told is not to my liking. I would say "if you can't help but imagine the true presentation of the plot in the book in your mind when you read the novel again", then you can't go wrong with this movie (insert An exclamation point: I see almost all of Murakami's works are almost perfectly synchronized between the words and the images in my mind, but it is a pity that too few of Murakami's works have been remade.) This way of telling is refreshing and makes people quickly addicted to it. Since the title of the film is "Destination and Entry", it is reasonable to use his imagination to guess how the male protagonist will go to "Come into the room" and finally successfully enter the Raphael family, but after seeing the French teacher Gilman stole the test paper and felt that the development of things might not be so simple. It has to be said that the translated name "Going into the House" can be regarded as a model of overseas movies.
The topic of "voyeurism" is not uncommon in various literary creations, but voyeurs can't escape the negative comments of wretchedness, cowardice, etc., but as a concern, when watching a series of Claude's actions, they Diluted a lot of negative factors, but will have a stronger sense of substitution, we will also like the Raphael family, feel sympathy for the male protagonist's childhood misfortune, and it is easier to stand in his position, thinking that this is just It's just the curiosity of a child who suffered a misfortune in childhood, it's just an understandable little mistake made by an ignorant teenager under the instigation of a French teacher - just like this, from the beginning, we identified the wrong Claude really wanted to peep. Object.
The magic of the film is also that it combines a variety of factors: writing, art, and even a lot of Chinese elements, but it all converges on a central topic that is not very elegant: intervening in the world of others, in the present moment In terms of the background where the boundaries between people are more clearly defined, this is not easy. You can also imagine that the male protagonist succeeded only by relying on words (or the words that the French teacher often corrects) without meeting each other. Entering the room really corresponds to the French teacher's sentence "The ending can't be imagined by the readers, but when they see the ending, they can only say-and there can only be such an ending."
The film is really admirable for the skill of four or two, and the turbulent expression in calmness is the best.
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