In Tokyo in June, the continuous rainy season made the whole city dull and humid. The accumulated rainwater rushed into the sewers, like a turbulent but had to suppress lust, which could only be handled casually in the end.
Lingzi was secretly photographed masturbating by Lang Dao, so she had to follow Lang Dao's instructions and did one thing after another that made her feel ashamed, such as wearing a miniskirt but no underwear, walking in the crowd, or In public, manipulating the vibrator inside the lower body and masturbating.
"Snake of June" is undoubtedly a film full of almost perverted undertones, however, it is by no means intended to provide sensual pleasure and stimulation.
Reiko desires sex, but her desire is not understood by her husband, and in extreme sexual repression, she is enveloped in extreme loneliness. Reiko's husband was troubled by a serious cleanliness addiction. He kept wiping the bathtub in the toilet, but Reiko, as his wife, did not notice his troubles.
Although they will stare at each other affectionately after each other fall asleep, they cannot touch the anguish of each other's heart, and they are alone.
The same is true of photographer Lang Dao. He was terminally ill and tried to commit suicide because he had nowhere to find solace. Under the guidance of Lingzi, he got rid of the idea of suicide, but he used Lingzi as a life-saving straw for his miserable life. , to place one's own loneliness.
Three lonely souls and two deformed relationships build a portrait of modern urbanites: loneliness and depression.
Finally, one day Lingzi took off her clothes in the drizzle, and with Lang Dao's constant flashing lights, she rhythmically twisted her fair body, stroking and masturbating to the fullest. Everything, and couldn't help but start masturbating...
This is the most classic scene in the "Snake of June", weird and erotic, reflecting the modern urbanite, in the repressed life, finally distorted personality, three lonely souls, in an extreme way, get get what you want.
Reiko released his desire, Reiko's husband got to know his wife, and finally had indirect sex with her, while Lang Dao established a certain sense of intimacy with Reiko.
The film continues director Shinya Tsukamoto 's style of thinking about reality in an extreme way, and explores the living conditions of modern urban people through a story full of almost perverted meaning.
It is worth noting that Reiko's career is very meaningful.
She is a psychological counselor and uses the telephone hotline every day to provide psychological counseling for many users. Although only two of Reiko's clients appear in the film, it is not difficult to imagine that there is a huge group on the other end of the phone. There is a moving long shot before Reiko's appearance, showing that there are still many psychologists like Reiko busy working, and the psychologist she works in is not as unique as possible.
It can be seen that the loneliness and depression of the urban population is so common that it has even formed a considerable industry.
The reason for this predicament comes from poor communication between people. Just like Reiko and her husband, they live in the same room and cannot communicate effectively. If it wasn't for Lang Dao's extreme method of candid photography, Reiko's hardships would probably never be the same for the rest of her life. It will not be perceived by others. The clumsiness of Lingzi and his wife's communication is also reflected in Lang Dao. After discovering Lingzi's distress, he wanted to help Lingzi out of the heart of repaying his gratitude, but he chose to coerce and coerce. To achieve this, the relationship between him and Reiko was stiffened.
Lang Dao's candid photos of Reiko masturbating
At the same time, poor communication stems from individuals' disguising or even suppressing their true self. They are unwilling to let others know their true thoughts. Over time, they will no longer be understood.
Just like Reiko, her husband doesn't understand her desires, why is she willing to face her own desires? She used an old-fashioned and conservative dress to cover up her desires. She masturbated quietly, for fear that others would know that she needed sex. She would rather hold her husband's chair and taste his thin body odor than tell her husband happily that she desires sex. . So, how can the husband know her?
Lang Dao and Reiko's husbands also have varying degrees of self-covering. The former does not admit that he needs the care of others, while the latter does not admit that he needs the help of his wife.
This extreme repression of the true self is doomed to poor communication and finally to the isolation of the self.
The popularity of the psychological counseling hotline is not accidental. Obviously, it fits the needs of people who want to release their emotions without exposing themselves.
Lang Dao has always reminded Lingzi that to do what she wants to do is to make her face up to her desires and admit her needs, and when Lingzi is masturbating in the drizzle, asking Lang Dao to flash the flash is a kind of desire to expose the truth. The ultimate means of self.
This time, Reiko was finally understood by her husband.
Only when you yourself are willing to accept your true self, your true self, will you have a chance to be understood.
Since ancient times, sex has been an indispensable physiological need for human beings, but they always choose to be suppressed, especially women's sexual desire, which is often regarded as a taboo. Reiko's experience is extreme, but her predicament is very common. Therefore, women and sex have become the best entry point to express the repression of the urban crowd. The snake in the title symbolizes the sexual desire of a woman, and the film is therefore cast as an erotic film.
The rain, sewers, cages, snails and other symbolic things that constantly appear in the film allude to Reiko's repressed desire, which makes her overall mood externalized and more easily accepted by the audience, which inevitably makes the film More and more full of hormones.
What's more, the goddess Kurosawa Asuka is naturally sexy, and it's hard not to think about it.
Asuka Kurosawa
"Snake of June" won the Grand Jury Prize for the Venice Film Festival in 2002. It is the pinnacle of Tsukamoto Shinya . The film continues his preference for using a strong image style to highlight the theme. A hint of melancholy blue is revealed, reflecting the repressed hearts of the urban crowd, and the organic fusion of surrealism and reality in the film is also his usual technique.
In the end, the film ends in the harmonious and happy sex of Reiko and her husband. The heroine Reiko finally returned to herself and lived the life she wanted. However, we know that facing the true self is never an easy thing. It's also impossible to get the antidote in one movie.
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