1. The film starts with a shady typhoon broadcast. The first thing in the picture is two vertical axis perspective shots, which almost completely reflect this narrow interior space. The narrow space and the strong typhoon are in stark contrast, indicating a crisis in space. At the same time, the reversal of "getting full marks after falling on the buttocks" is a kind of dissolution of the sense of crisis. Indicates a hidden turnaround.
The small table is full of daily necessities (because of the reminder in the opening broadcast, the most conspicuous thing is the radio, which is mentioned later in the video, because life is not rich and can't go to the bathhouse, my mother imitates the bather in the bathhouse and brings a portable type radio.), the daughter can only nest in the corner of the desk to write greeting cards, indicating that there is little storage space. The mother took the quilt from the balcony and went back indoors (the thick quilt in the winter in the summer, indicating that the room is damp - because there is no air conditioning - other people's doors and windows are closed, and the damp can only be dispelled by drying the quilt frequently.), because the space is narrow, the daughter is not allowed to Do not lean forward to avoid it. Obviously, this space is not comfortable for living.
The turning of the second cross-axis mirror turns the text to the second element: fatherhood and death. First, it is mentioned that the father often (every time) asks the mother to bend over to borrow money, so the daughter's attention turns to the father's spiritual position, and it is mentioned that "you don't have to worry about it" in the future, suggesting that the father has just passed away. The mother also showed a sense of "relaxation", indicating that the father was not very popular when he was alive. Obviously, the father should be incompetent as a father or a husband. Then the daughter mentioned that after the mother, one should make more friends to prevent Alzheimer's disease. The mother used more friends to make a rebuttal to increase the number of funeral attendance, and proposed the second motif of the movie - "death". It must be mentioned here, from In the shady typhoon broadcast (broadcast) at the beginning of the movie, there are portable broadcasters in the two shots shown in the picture above. It can even be said that the axis intersection of the above two vertical axis shots is the broadcast. Friends who have watched the movie should know that the theme of "deeper than the sea" at the end is also from the broadcast. Obviously "broadcasting" is the first motif factor of the film. Broadcasting, on the other hand, exists as a link between the "small enclosed space" and the "external space". Then the first motif of the film is - "break free of space" 2.
Then start with the food, and enter the second collection of the film - "Late Blossoms". First of all, from my mother's "Let the konjac cool down slowly, it will be more delicious if you leave it overnight, and the same is true for people." In the article, I mentioned the elderly son-in-law who is not a good tool. Secondly, through "words" (interspersed with the old topic of shaking hands, echoing the "death" motif), I mentioned the only calligraphy that my father is proud of, which is handwritten on New Year's cards every year (handwritten greeting cards have two levels of meaning, one is The obsession with showing ability echoes the son's obsession with his own writing ability - ashamed of writing best-selling comics. The second also implies the family's economic ability.). Then, through Mr. Shiba Tian's move to a big single-family house because of his unremarkable son in middle school, he proposed "a late bloomer".
This leads to the "late bloomer" of his own family (in a narrow space). The elder sister mentioned her own late bloomer in a teasing tone (the elder sister's attitude towards the younger brother is mentioned later in the film), and the mother thoughtfully agreed with "big". The "big" here also has two meanings. One is old, which corresponds to "late"; "), but "cheng" did not agree. This is also the third motif of the film - "big, late - not successful". It is worth mentioning that, while the next large-scale performance of the movie is "great", it also includes the first motif "break free of space". This is a set of strong contrasts. It is obviously not easy to install a large device in a small space. In other words, under the premise of a fixed space, the survival state of a large device in a small space is the spiritual core of the whole movie (large and small collision). 3. The "big one" appeared. Next, until the title of the movie appears, there are a total of fourteen shots, and there is basically no developing text, which will be explained in a quick shot language.
3-1: It represents a scene where two trains meet. There are three interpretations here: First, in terms of the frame area, the red train always occupies a large frame, while the yellow train occupies a small frame, which can be understood as the beginning of a collision between large and small. The second can be understood as a reminder of the appearance of Hiroshi Abe as the main character of the movie. The bonding of the two situations before and after, we can see from the movement direction of the next shot, Hiroshi Abe should be sitting on the yellow train facing the screen. The third can be understood as this cross movement hints at the character's next situation.
3-2: As the main character, the director gave a relatively large proportion of the character's area. We can feel the "tall" of the character from the reference object. His head is higher than the hanging railing, next to the train door. You need to bow your head slightly to see the scenery outside.
3-3: We can also see that the character must bow his head to get out of the train door, otherwise his head will hit the upper frame of the train door. This is the same as the previous shot, it is the collision between the small space and the big body.
3-4: The character drags a tall body and drills into a narrow "cave".
3-5: Here you can clearly see the oppression of the "small space" on the "subject with a tall body". The tall body is in contrast to the two customers on the side. Meanwhile lunch's scribbled solution reflects the character's situation.
3-6: The subject walks out of the subway station, wiping his mouth while walking (representation of the situation), and then the two people around him walk in the opposite direction, also using contrast to highlight his height.
3-7: From the next shot, we can know that the subject is sitting on a bus. In this shot, there are three types of vehicles on the road, a bus and a bicycle traveling to the right, and a car traveling to the left. Which means of transportation you take is of course a reflection of your identity, and the direction of movement represents the trajectory of your life. We can see that the relatively poor means of transportation move to the right, while the cars in the independent space move to the left, which is echoed here. It is difficult for the host to achieve the independent space of a single door and a single family that my mother hopes.
3-8-1: We can see that inside the bus, the subject still maintains a rightward movement trajectory. At the same time, in a public space like the bus, the subject's tall body is still framed by the yellow bars. The sense of oppression of a large body and a small space is reflected again. The subject's note-taking behavior implies his hobbies (specialties), and obviously his hobbies are also framed.
3-8-2: Here comes the dialogue of the elderly passenger, the text of the dialogue is discussing the topic of "old age" (the echo of the "death" motif). At the same time, it is not difficult to find that the entire bus is almost full of elderly people except for the main body, which implies that the main body will enter the "senior space". And the "death" motif obviously attracts the subject's attention.
3-9: This is a continuation of the “senior space” mentioned in the previous shot. The cluttered and aging circuit system is like a net, and it lives in the living space of the distant view. The bus continued to move to the right.
3-10: After putting down the main body, the train continues to run to the right. Then the main body goes to the depths and goes to the cake shop to buy cakes for mother.
3-11: Crossroads, echoing the train crossing ahead. Here is still the choice of the path of life. It can be seen that the subject is still walking to the right with the symbolic meaning (established by 3-7 shots).
3-12: Cut to the middle scene, the subject continues to walk to the right with symbolic meaning, and is attracted by the landscape on the opposite side of the road.
3-13: Cut over the shoulder long shot (parallel flip of the previous shot), in the long shot there is a children's entertainment facility covered by a seal. We know that this facility plays an important role in the "turning" in the later text of the film, "initiating-inheriting-turning-healing", almost all contradictions are resolved here, and the subject also chooses a positive life. (If the movement direction of a single subject is used as the axis, this shot is obviously suspected of jumping the axis.) The character also symbolically changes the movement direction and begins to move to the left. And the tall body of the original frame on the head suddenly became smaller because of this. The whole space is suddenly open to the main body! Corresponding to the reversal of the opening chapter "You can get full marks after falling on the buttocks", the movie is the "turn" of the children's entertainment facility, which is the ultimate in a small space, where the family braves the wind and rain to hide in the small space. When the space was oppressed to the extreme, it was relieved. This was the hope after despair.
3-14: The characters leave the deep space and move towards a large space with a relatively open foreground. Interestingly, in the depths of the vision, the director arranged an elderly community that symbolizes "narrow space", as if the subject begins to formally break away from the constraints of "narrow space" after passing through the children's facility (3-13). His body also suddenly became less "symbolically tall" because he was not bound by reference objects and frames. At this point, the title of the film appears --- Deeper than the sea!
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