Japanese woman

Hassie 2022-04-20 09:02:57

Damn it, the front is the side dish, which is the bedding, the second half is the real Kurosawa Kiyoshi, the fear of the end of the world, Imamura Shohei-style "maggot" feeling

Rosella 2022-04-20 09:02:57

The bitter lament of an unemployed middle-aged man. 1. Kurosawa Kiyoshi's family films are still full of the author's imprint, just like the blown newspaper on the opening floor & the fluttering white gauze curtain (reappearing in the 2/3 of the film's turning point), dim indoor light, wife A close-up shot of wandering around while tidying up the eldest son’s room (with the ghostly piano music of unknown origin, between inside and outside of the painting), and the climax of the apocalypse. 2. Several indoor long-shot scenes are well planned, such as the scenes where the father quarrels with the eldest son and the younger son respectively (the wife has a defocused or clear face in the background). 3. The second half is very New Wave: three scenes (seemingly parallel through editing) running and fleeing, a thief with joy and self-examination, a parody of male and female thieves, and the seaside and wooden house at the end of the world. 4. In the traverse and long mirror, my father keeps tripping over the garbage on the overpass at night, like a microcosm of a hopeless life with repeated battles and defeats. 5. The eldest son's dream of returning from a killing in the Middle East battlefield, waking up from the dream and calling again from the beginning are just like a variation of [11]. 6. A redemptive interloper who can't save himself. 7. [Moonlight] Leopard tail. (9.0/10)