Only his wife, Kagurazaka Megumi, appears as a woman in his cult films. No matter "Icy Tropical Fish", "Exposure of Love", "Mediocre" or "Why Hell is Bad". Not Kagurazaka Megumi's big tits, her blurry eyes made other women eclipsed. In Sono Ziwen's role, Kagurazaka Megumi is always a normal person and has normal people's desires. Even in "Sin of Love", her debauched behavior at the end was caused by being hit. In short, I saw her in Sono Ziwen's films as normal. Other women, either screaming to be destroyed, or walking dead, being driven by others.
He is the boss of the "society". In this "Why Hell is Bad" and "Icy Tropical Fish", there are a group of gangsters, but almost all the laughs in the film come from this group of gangsters, so they are called "society". The reason why he is the boss is that the actors in his many films are almost unstoppable: Kagurazaka Megumi, Ogata Yoshihiro, Watanabe Tetsu, Nikaidou Fumi, Watanabe Makoko. Here is his cast lineup.
As the title, I will talk about the competition and cooperation relationship I saw in the film. Of course, the competition and cooperation do not fully convey my feelings, whether the competition is right or not. I will explain it here. Many represent a conflict between the two parties, while He represents the calm after the conflict. I don’t know exactly what Sono Ziwen wants to convey through this calm mood. In the film, the competition and cooperation relationship changes with the scene of the camera. And showing obvious tension, this kind of power seems to be poised in your chest.
"Why Hell is Bad" actually has a fuller and more complete plot than "Exposure of Love", "Mediocre" and "Icy Tropical Fish". The story begins with Mitsuko's ad, which runs throughout the audience. Suddenly, it turned to Hirata, a group of unemployed homeless people, who were filming on the street. The camera turned again, and Mitsuko fell into a pool of blood. Muto molested the good family. Jingjiang's Wild Murder. In this way, the story is told like a postgraduate English sorting question.
The whole story tells that Jing Jiang, the wife of the gangster Muto, killed the younger brother of the Beichuan faction and was imprisoned. Ten days before she was released from prison, in order to surprise him, Muto asked his daughter Mitsuko, who had always wanted to be an actress, to make a movie for her to watch. The results of it? Could it be that Yuan Ziwen just wanted to tell us that they were all killed by the police in the end. It's over? Isn't this very desolate, desolate to Haruki Murakami.
barren. In Sono Ziwen's works, it always starts with the roars of a group of decadent bad youths or young women who are dissatisfied with their desires. They seem to want to break people's apparent strength and harmony on the surface, to get rid of this barren and nowhere to put their Desire for the life of the world. The tone in the film is all hoarse, all of them are tough guys, women are all witch-like beings, they want to create a more realistic and meaningful world. Compete, in a world they don't agree with. In the end, it ends up being nothing.
Sono Ziwen's means of creating this competitive relationship is largely due to the soundtrack. Sometimes the enthusiasm suddenly turns into tension, and the sword is drawn. Sometimes it is quiet and suddenly bloody. The jitter of the camera is also in line with the co-operation of the story. He uses long shots to express heroism and jitter to express fierce struggle. I remember that there was a competition and cooperation relationship, and the telescopic performance of the borrowed lens was very obvious. In the part where Muto and Ikegami were shooting the film, the camera kept switching between them. At first, because there was no negotiation, the two sides were angry, and the camera shot was a medium shot. As their negotiations progressed, from medium shot to close shot to Close-up, the conflict is resolved.
This is Yuan Zi Wen. Of course I prefer the excitement he conveys to me.
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