I know Otomo Keyang because of his "Ping Pong"; I know Michael Elias because of his "The Matrix Animation". These two people are actually very similar. They are both "heterogeneous" in their own country's animation industry. They both choose not to compromise with the secular, and use unpleasant painting styles to show those philosophical thoughts and depths that make ordinary audiences daunted. Maybe that's why they choose to work with each other. But I have to say that Otomo Keyang's personal style is too strong, completely covering up Michael's traces. In this film, it can be seen that Michael's participation is probably only the Kowloon Walled City in the background of the story, and the trivial details such as the Tai Chi on the black back. In fact, this comparison is very interesting. The older Japanese have seen the chaotic but vibrant Tokyo of the Showa era, so that Tokyo has become the soil of their dreams. The Tokyo that Westerners see is now the bright and dead Tokyo. The place of death cannot breed fantasy, so they can only turn to the next best thing and choose the equally chaotic but vivid Hong Kong Kowloon. When the water is clear, there will be no fish. This is one of the iron laws of literary creation.
Therefore, from this aspect, the cooperation between these two geniuses was not as successful as they thought. Otomo's style is just like Shiro's description of the fire in the film: the surface looks gentle and calm, but the inner core is eager to destroy and release. In "Ping Pong" created by him and Yuasa Masaki, Yuasa Masaki's sharp and fancy storyboards, editing, and the same alternative but smart BGM perfectly neutralize the obscurity and tenderness in Otomo's works. But this time, he chose to work with Michael Elias, a person whose style is very similar to his own. In fact, he magnified the advantages and disadvantages, making the profound deeper and the obscure even more obscure.
But the world of Otomo Keyang is actually not difficult to understand. In the audience group composed of Heisei waste dolphins who like to dismember the grand and escape the profound, he and another director who rarely retains the ability to think about the ultimate problem - Jin Min, invariably chose to use this bitter pill with Sugar-coated, and then tricked into swallowing this group of spiritual giants. The icing that Jin Min chose was a dream, and the icing that Otomo Keyang chose was a child. Adults are too strict with reality and themselves. Only in dreams and the mouths of children, no matter how weird things may happen, no matter how profound the words are, there is no sense of disobedience. And there are many truths in this world, and it is precisely in such an environment that they can be discovered. Knowing this layer of sugar coating, you can understand the deepest things in the works of these two geniuses.
The film's theme isn't really that obscure. Black and white, two children, who use violence as their way of life, depend on each other in the corner of the city. It is a miracle that Bai exists. In this dirty city, this child grew up spotlessly. If there was no black, Bai would have died long ago. It is responsible for pulling Black back every time Black is desperate. "If you speak ill of people, your heart will become dry." "Apart from Bai, Hei can't have any more partners." Bai's words subtly softened to black.
Everyone is saying, "This is my city." In fact, this city is not owned by anyone, not black, not chocolate, not Kimura, not rat, not snake, this city has a very special character Strange, perhaps, is what Black said, not wagging his tail to beg for mercy to anyone.
It is unclear whether black is protecting white, or white is protecting black. Perhaps, they are one body. White holds all the parts.” What Black lacks is love, innocence, and innocence, while White lacks the calmness and despair of Black. Black without white is like being possessed by the devil, leaving the white hysteria of black, they are inseparable.
Black and White both try to leave each other, but in the end find it impossible, just as one cannot completely abandon one's own past. No matter how unbearable, how painful, it still appears in the deepest dreams every night. Sometimes people are black, and sometimes they are white. Although Bai has left, he has already planted a seed in Hei's heart. Perhaps, when Hei turns back one day, he will find that the seed has sprouted.
Full of rage and fighting spirit, the black is pure and almost idiotic. They only know how to use force to survive, but they are not evil at all. "If there was no Xiao Hei's protection, Xiao Bai would have died a long time ago." The seemingly strong Xiao Hei was actually guarded by Xiao Bai all the time. Xiaobai, who was flying in the sky, whispered "Peace of Mind", which was the confidence that made Xiaohei calm down and resist the darkness.
At the end of the whole movie, apart from the story, the most impressive thing must be the colorful treasure town, which is more like a lost paradise, whether it is people who have been reiterating the prosperity of the past treasure town, dazzling colors, special perspectives and scenes interspersed It brings me a surprise and exciting visual feast, the details that cannot be missed, the gorgeous decoration and the mottled traces everywhere make the characters appear simple but extremely beautiful.
The city is always too indifferent, even if he pretends to easily shout "An Xin Xin", he still can't make himself calm and satisfied like Xiao Bai, and even floats in the air. Cities are indifferent. Cities are monsters from the hybridization of traffic, politics and money. And all we can do is carry out some trivial little mutiny in this perverted city. Scorn at politicians full of nonsense on TV. Research the truth about history. Express your dissatisfaction with words. This is just a trivial little betrayal, just a small explanation to myself.
"Learn from bad people and your heart will become dry."
"If you always apologize, it will become a habit."
"There are very few people who are qualified to pursue their dreams."
"The city is changing without regard to my thoughts."
"A little slower and I'll be happy."
"The deeper the love for the city, the deeper the wound."
The words uttered through the mouth of a child always seem particularly deafening.
An animation about dreams, love and protection, an alternative, evil spirit, but the connotation is extremely simple and beautiful, you can't miss it.
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