What came into view was a room full of human internal organs, the bright red room, and the blood like paint, all of which Hajime couldn't control and killed himself. It doesn't matter whether the taste is heavy or not, the key is to be interesting. I often see Michi's films and laugh out of breath. I just feel that this guy's cold humor is too genius to take people seriously.
The woman whose nose was bruised by the man's beating yelled, "You beat me up like this, how can you tell me to sell it?!" I told her that as a joke, and she laughed and slumped over the coffee after listening to it. On the bar's table, beautiful eyes flowed, "This woman is miserable enough, but why is it so funny when it comes out of your mouth?"
I don't know why I can always describe miserable things as ridiculous, just like Hajime Say to the woman, "Don't worry, I will continue to beat you in the future." Then cut the woman in half with one knife. Or like Asano cutting his tongue at the boss, I feel that even the king and Laozi can't do anything about him at this stage.
Miike claimed to the London media in an interview that women regarded me as a public enemy after reading my works.
I don't know if this is the case, but I have Japanese female friends who love his works very much. I myself like his "Japanese Underworld" the most, in which the female teacher of Shanghai elementary school follows Kitamura Ikki on the road of no return, which makes me so cute. Michi is actually a lovely person. His works belong to his works, and he escapes the cruelty and sees the essence. In fact, they are very childlike things.
Take back the topic and talk about my favorite Sun Jiajun.
In Hong Kong films, sexiness is always used as a money-making tool. The director has such a devilish figure and is rationally used in pornographic films. Everyone seems to ignore other possibilities of her artistic expression. Going back to literary films like "In the Mood for Love", Sun Jiajun plays Tony Leung's wife, who has never shown her face. Although Wong Kar-wai has cut only the back shot, the back curve is exquisitely crafted and graceful. With her swaying posture, Maggie Cheung was compared as soon as she appeared on the stage.
Back in Tokyo this time, Miike said in the production special that Sun Jiajun is a Hong Kong actress he admires. Needless to say, she is very smart and learns things quickly. She suggested that she add it herself. For example, where to speak Japanese, where to speak English, and where to speak Hong Kong dialect, they are all in place.
That's why Karen's appearance at the Shinjuku bar surprised me. My sister's language skills surprised me. She is fluent in English, Japanese, and Cantonese. A headed Japanese man. Talking about how he strangled a dog and scolding his man for running away with a 17-year-old girl, as the mistress of the gang boss, this is like the Chinese woman that Yakuza is willing to fall in love with.
He rushed up to pinch the face of the shopkeeper who was beaten by Asano, and shouted loudly in Cantonese: "Let me be your woman!" I laughed and rolled over on the sofa. After that, it wasn't hard enough to play S and M Asano, the guy said "you can't compete with the boss at all", and then walked away, leaving her in the SM uniform and shouting "you come back with me!" It was really cute. The accuracy of Miike's casting is admirable. It can be said that no one is more suitable for this role than Sun, or that the role itself is simply transformed by her into her own. Karen is a very lovely woman, she didn't forget to be funny when she died, I really admire her.
Michi is actually more like an experimental director. Many films were hastily shot and released in theaters within a week. The midnight show was full of bored spectators. After watching it, he went home and fell asleep. However, foreigners are buying his account, Hilarious Violence, I don't know if I can describe it this way, let's call him HV director. I feel that his fascination with the picture effect itself exceeds the appeal of the whole film, and the sense of patchwork is very strong, so the language of the film appears messy.
In any case, I think he is more interesting than directors like Shunji Iwai, who are often scolded by angry youths, because he seems to be able to do everything to the extreme after removing the restrictions, which is a bit like Quentin.
The grandfather of B-level films, Michi deserves this title, and Sister Sun can be the queen of B-level films. If the director produces something, give him more opportunities.
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