那年夏天寧靜的海

2005年12月17日。我。寫下的文字。
                     

紅 黃 藍

那年夏天寧靜的海

北野武在男女主角身上使用的色彩

搭配大海藍天的自然色調

也在簡單中

描繪出人生所有的複雜

"工作啦，

要努力工作。

約會啊！..."

單句式的對話

可以組合成所有人的生活

工作 約會 目標

這些元素

獨自解讀也許沒那麼了不起

排列組合起來

卻也成人生總和

這是多麼神奇的因子

事物分解再分解

分解後再繼續分解

最終那是個無聲的境界

北野武的無聲世界裡

沒有激情 沒有憐憫

屏除許多現實層面的不平等

幻化成單純的世界

一切似乎都那麼理所當然

撿到一面衝浪板

引發一致命的沉迷

沒有不應該

沒有對與錯

重點只在於去做

儘管白痴

但長江後浪推前浪

後白癡也會繼續推著上一批白癡

如此一來

前批白癡們漸漸地就擺脫了白癡的名聲

自然而然也在人群中找到了盤坐的位置

那年夏天寧靜的海

片頭由陸地望向海面的寧靜

片尾對我來說

確一點都不寧靜

像是飄流遙遠的距離後

終於靠岸激起水花

所有的美麗光景

生活點滴在此時出現

點得唯妙唯肖

那些看似平實無味的相處

此時群起激湧

甜美又真實

但這回

卻是由海的那頭

望向陸地的回憶

觀看電影預告→

殯の森 // The Mourning Forest

Having someone live in your heart. How long is too long not to let go? A year, two years or 33 years? The same thought came to me twice from a Korean drama and Naomi Kawase's The Mourning Forest in a day. What would be the redemption? A ceremony to set free or to reunite with the significant other? 

The Mourning Forest expounds the director's detailed perception of daily life. While some conversations are happening, the scenes are focused on various angles of the surroundings, but not the speakers' faces. It's quite a refreshing view, which represents where people's eyes would fall on in reality. 

A music box was cleverly used in the film. I like each of the notes slowly produced by hand cranking. It feels to me like how the player depicts his/her rhythm of life.

Thinking of how to end this writing. Thinking of what ends the sorrow of losing love. Would the ending moment be precise? Or would it be illimitably existing in any way? One keeps thinking...

「殯（もがり）」
敬う人の死を惜しみ、しのぶ時間のことまた、その場所の意

ロマンス ／ Round Trip Heart

長時間このブログを書きませんでした。何故なら？なんか人生のリフォームや休憩の一年だと思います。この映画の意味と少し同じようなです。現実から逃げるとか自分を探すとか、なんとなく、どんな理由の為にこんな虚無的な時間をかけるのは必要なんです。

映画「ロマンス」の主人公（大島優子）は知らない中年男（大倉孝二）と一日を過ごして、二人は自分の息苦しい世界を逃げる。普通は変な出来事のに、二人の展開はとても自然な状態になります。一日中、会話の内容や見る風景などは人生にとって利益があるかどうか知りません。でも、後の生活に対してもっと続ける機会は増えるかもしれません。

最後に、別の話題だ。箱根に行きたい〜〜

http://movie-romance.com



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It's been a long time since my last post. To escape from the reality or seek for the inner self, isn't it necessary in life sometimes? Same to the movie, Round Trip Heart. A 26-year-old girl (Yuko Oshima), who cannot figure out her life destination and letting the train routes lead the meaning instead, spend a day with a middle-aged stranger (Koji Ookura). The encounter and the happening of the two characters might sound unusual. However, it turns to be a most natural occurrence. Within the day, even though what they have talked about and seen are not guaranteed to bring in life change factors, it's still crucial for being rescued from their breathless lives. 

Having the chance to see the director in person was great. She mentioned her voice once appeared in the movie. Don't forget to look for it!

P.S. I wanna go to Hakone~~

http://movie-romance.com

Introduction and Q&A with director Yuki Tanada, July 10 / JAPAN CUTS 2015 

そして父になる // Like Father, Like Son

Hirokazu Kore-Eda's (是枝裕和) Like Father, Like Son didn't leave me breathless feeling as his another movie, Nobody Knows, but brought tears to my eyes with deep thoughts. I kept thinking if those parents' reaction is realistic, what I would do if I was one of the parents and if Hirokazu Kore-Eda's way of addressing the emotion is the best approach. With many times of debating in mind, I came to this conclusion that the director's depiction is the most perfect way to me. People get emotional when they just need to; people stay calm when nothing else could be done. Everyone just need to live the life.  

For some movies, you know right away that would stay in you the whole life, but have no courage to watch second times. I have two like these, and they both happen to be Japanese movies. One is Hirokazu Kore-Eda's Nobody Knows; the other is Shunji Iwai's All About Lily Chou-Chou.

Sweet Little Lies

Sweet Little Lies
(スイートリトルライズ)
Directed by Hitoshi Yazaki (矢崎仁司)

A movie with beautiful image rhythm. The director creates a neutral feeling of what happens to the marriage couple. Things just happen by themselves without being able to put any moral judgment in. You feel real meanwhile surreal.

I keep thinking about the phrase "perfect to each other". Is too perfect to make the couple hard to breath in life and hard to be comfortable when they are around? Then can it be called "perfect"? Or it's still perfect, but hard to bear.

When the other is your mirror, who is the one you are not able to get along with? So, finding an unsuitable mirror might help to get rid off the intenseness. This might be the only way or a temporary solution. No one knows.

To me, the ending stops at the last second scene. The husband and wife left the apartment together. While the door is closed, "I am home" or "I'm going home soon".