When director Yojiro Takita was interviewed by Reuters, he was also asked the same question. The meaning is probably: I don't know how to live, how can I know how to die? He said: If the theme of the film is dead, it is a very delicate matter. I was really attracted by this story, especially at this age, I have begun to feel the approach of death. So, the biggest challenge I face is how to tell this story. "
I find that the best interpretation of the topic of death is the Japanese. The
best story I have ever heard, when I was very young, was an animated cartoon. Regarding death and the sadness of longing:
I went to the mountains alone. Hunting. Suddenly I met a very beautiful fox. When I pointed the muzzle at it, instead of running away, it looked at me with deep eyes. It suddenly spoke and asked to redeem it with a drop of magical potion. Life. I agreed. So I put the potion on the palm of my hand. I put the thumb and index finger of my left and right hand into a window, facing the sky, I can see the state of the dead in heaven. After the fox and I were separated, I went back The hunter’s house. I put down the shotgun and went to wash my hands. The potion was accidentally washed off by me.
I still remember some lines in the story, including a paragraph:
"The fox asked me, what did I see?
It said that it saw its dead parents who died under the gun of a hunter. And I saw the girl of my first love. She smiled at me. Just as it was more than ten years ago. "
This story is plain speaking, as if the light ink of the pen is dripping on the clear water. It also brews the impression that I later read Kawabata Yasunari and Mishima Yukio's novels.
Faced with the ignorance of death, we always try to find A window, one or two from it. However, in this process, we are always free from the topic of death. Talking about death is like arranging flowers. It is not the flower branches that are pruned. Human beings unconsciously cut out the artistic conception without knowing it. this thing.
For the dead, death is nothingness. For the living, it is an existence: its meaning does not lie in itself, but in the love and hate, longing, fear, silence, memory, and sorrow entangled in death. This is also the sorrow mentioned in Japanese culture.
The mourning of things is an aesthetic, not death itself.
There are many film reviews about "The Enemy", so I don't care about the sluggishness. But I think I’m more reliable in that I don’t discuss death. I also don't think that "The Enemy" is talking about death.
Faced with the utter nothingness of death, I don’t think we are now qualified to interpret it. If you want to make a movie about pure death, I think one of the best scripts is:
Year Month Day Ward
XX: Ah, I'm going to die.
(Looking at the ceiling, blur, the last darkness. It has been dark. Ninety minutes. End.)
Although this true reflection is very close to human understanding, I think it is meaningless.
Like all works on the subject of death, "The Encouragement" also deliberately or unintentionally avoids the nihility of death. Tossing around, to other topics. One is life with death, and the other is beauty with death.
The first is Yansheng.
In the face of death, the most positive attitude of human beings is to turn to thinking about the meaning of life. This is an eternal topic. The topic of death reminds us, "Death is one side of life, coexisting with life."
We live on the other side and often forget the so-called other side. Life is long, and the spring nights are short, making tourists drunk and upside down Bianzhou, Hangzhou. As death is a terrifying and unpredictable destination for human beings, we inevitably fall into this nihility. We have nothing to do with this process. The self-esteem and self-confidence of higher human beings were smashed in front of the god of death.
Therefore, we are like a raped virgin, forgetting and avoiding are the best medicine. Over time, humans become addicted. The so-called death has gradually become a concept opposite to life. Although death exists in every breath of air that we are born with, we turn a blind eye to it. Without death as the opposite of life, as the coordinate of life, human beings will always be lost in the so-called life somehow.
People who really feel the existence of death will die soon, and there is no way to appeal if they want to appeal. The dying person is like everyone is drunk and I wake up alone, surrounded by Chao Song Yexian so lively, bright moon and high-rise buildings alone.
Eliyes wrote a book called "The Loneliness of the Dying Man". It is believed that human civilization gradually separates life from death. And Chinese civilization will bear great responsibility for the plight of modern dying people: life and death are not opposites, and life coexists with life as a part of death. And unknown life, let alone death, this is a mole-like cowardly act.
"Encouragement Division" broke this taboo of Eastern culture. Reconnect death and life together, and use death to speak of life. The reason why "The Encouragement Master" is so touching has nothing to do with this. In the movie where Honda Masahiro and Yamazaki Nuo eat the white fish,
“It’s really delicious.”
The survival of an individual must be based on the death of other individuals. How can we not make people embarrassed when we slice the fish and swallow it to death with mustard?
The second is the sorrow of the beauty of words.
I always think that the Japanese are the most perverted nation. There are many people who think that Japan is abnormal, and Lee Kuan Yew is among them. But the perversion I'm talking about lies in their obsession with beauty. And this kind of persistence, compared to the meticulousness of the Germans, is almost cruel and harsh.
The Yamato nation’s pursuit of beauty is not perfect, but a kind of incomplete beauty.
For example, cherry blossoms, when they are most beautiful, they fall. When it is in full bloom, the family gathers under the tree to enjoy the rewards, while walking alone in the cherry blossom forest is the reward, while the flowers are scattered and fallen like snow is the top reward. Let's take another example of Japanese swords. A famous sword was forged during the feudal period. After opening, a prisoner, a hawker, and the like were dragged and tied to the ground with a knife. It is certainly a good knife to split wood in two sections. However, with a single cut, the corpse's strange place is the top grade.
I have always mistaken the mourning of things as the decay of things for this reason. Autumn leaves are pure, things are declining.
"Encouragement" uses a large section of space, and tirelessly describes the process of encampment: how to bow, how to avoid taboos, how to clean, how to dress, how to make-up... Hisaishi Joe’s soundtrack is interspersed with "Beautiful Dead". . The title of the soundtrack tells everything.
And most of the plots in the enshrinement are dominated by female deceased. Although disrespectful, the deceased is indeed like a prop, placed under the lens of Takita Yojiro, showing the quiet beauty of death. As a subject, death is like an uncut flower branch. When we saw the scene of the enchantment, we easily mistakenly thought it was an ikebana: everything is so peaceful, mysterious, elegant, and skilful.
Honda Masahiro believes that this is a kind of respect and solemnity. However, this is also a kind of beauty.
After watching the movie. My girlfriend suddenly asked: Why did the director deliberately avoid the rotting and deformed bodies?
good question. This is the difference between mourning and corpse love. I thought at the time, what would it look like if Jon Kebutgrett were to shoot the same script?
The beauty contained in "The Encouragement Division" is not interpreted by directors, screenwriters, and actors. I think it can completely rise to the precipitation of a national aesthetic. Whether you watch "Entire Division", "Dream", or even Japanese anime; whether Kurosawa Akira or Iwai Shunji—this kind of nation is about beauty, there is a little connection between them.
For example, the actor Masahiro Honda is the actor of the 16th Academy Awards in Japan. But his performance was still a bit blunt. At the beginning, when he talked about the disbandment of the band, his surprised shot reminded me of Stephen Chow in an impartial way... Khan,
but in some calm bridges, he was so proficient and shocking.
This kind of beauty is what the nation has precipitated. Jon Kebutgrett couldn't take the "Encouragement" written by Koyama Kaorutang, just as we couldn't put Zhou Xingchi on the flower-arranged cushion.
The best foreign language in "Encouragement" is actually the two points:
first, the life reflected by death;
second, the beauty of the East.
Takita Yojiro is very proud this year. The major media also talked about this, saying how he evolved from a small AV director to a master of today's Japanese film industry. The tone was envious, but there was still some unrest in my heart. Just like the dog of the media when Hsu Chi won the best actress.
Actually, I don't think there is any difference between the filming of AV and "The Encouragement". "Encouragement" is not about death in the final analysis, just as the AV reflects not how cool the hero and the heroine in it are-the coolness in it is mainly for the coolness of the audience. We don't care about whether men and women are happy in AV. The key is that we can have fun or masturbate.
Touching the scene to give birth to love is the key to material decline and AV.
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