《幻之光》观影报告:他不做治愈,但给你看伤口愈合的全过程

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《幻之光》观影报告:他不做治愈,但给你看伤口愈合的全过程(图1)

MABOROSI, which means “phantasmic light” is Japanese cinema gradualist Hirokazu Koreedas feature debut, a minutely restrained drama charting the aftermath of abrupt bereavement.

At first glance (and with some acquired taste) Ozu’s influences writ large in the picture, from inanimate pillow shots, natural light (or no ancillary light at least) setting, to its medium-shot, static camera angle, perpetually at a remove, but often lingering longer than usual, with the story’s dramatis personae, and Koreeda goes ever further, defiantly ghettoizes our protagonistYumiko (former volleyball playerMakiko Esumi’s screen debut) intaciturnity, while the narrative languidly ambles around a nearly ritualistic, quotidian quietness.In the preamble, Yumiko’s grandmother decides to die in her hometown and leaves by foot, never being found again, Yumiko is guilt-ridden because she didnt stop her, and it actualizes as a recurring dream following her into adulthood, contentedly married with Ikuo (Asano) they have just welcomed an infant boy into this world, supposedly it should be a new chapter in their placid but convivial life, yet as augured by an earlier scene where Yumiko meets Ikuo for the first time on the night of her grandmother going missing, Yumiko comes for in another unanticipated bereavement when Ikuo commits an apparently unpremeditated suicide, leaving no explanation behind, which vehemently shatters Yumiko to the core, yet pertaining to Oriental philosophy and decorum, grief and perplexity are seething all too quietly under her outwardly collected mien. Koreeda circumspectly rams home that it is an inward process, time might heal her, or not.A few years later, when the bicycle Ikuo stole and rode is covered with verdigris, it is the time when Yumiko marries into a new family with her son Yuichi (Kashiyama) transferring themselves to a sleepy coastal village, Yumiko’s new hubby Tamio (Naitô) a widower with a young daughter (there is kindred spirit one can bank on) welcomes them to the household and domestic bliss restarts in a routine orbit with formality/intimacy (the latter is contingent on seasons) and bucolic/seaside idyll, all in anunperturbed pace under the adornment of Taiwanese composer Chen Ming-chang’s lyrical, dirgeful incidental music. Only a return visit to attend her brother’s wedding insidiously compounds Yumiko’s discomfiture, she cannot find a closure to let go of the past.In view of that Japanese is a people who has a perverse propensity of mythologizing suicide, Koreeda’s answer to Yumiko’s ingrown quest (culminating in a stunning sequence when she follows a cortège near the mudflat, and betrayed by the film’s title) predictably partakes of a numinous slant through Tamio’s mouth, and, to a certain degree, it leans to an arbitrary placebo aiming for a sigh of resignation in face of the unknown, one wonder whether Yumiko can come to terms with it, as cool as a cucumber she is, Esumi’s performance often belies a trace of self-imposed effort. Alas, to all intents and purposes, Koreeda’s maiden work is a laconic but poetic essay, a tasteful if none-too-absorbing artifact, but mostly confidently, a resolute harbinger of a promise that the best is yet to come, which in retrospect, is indubitable.

相关电影介绍:

幻之光

由美子(江角真纪子饰)小时候,奶奶总是离家出走,执意要从城市回乡下终老,并且有一次一去不返。再后来,由美子结婚生子,过着清贫但是幸福美满的小生活,有一天丈夫郁夫(浅野忠信饰)却意外离去。 由美子守寡几年后,带着年幼的儿子远嫁给民雄(内藤刚志饰),那是一处遥远的小村庄,依山傍海。从此过着平稳幸福的简单生活,日复一日。但是在她的心中,一直有个挥不去的疑问埋藏着,她不明白郁夫为什么会自杀。一连串的意外事件让由美子离家出走,来到海边的她苦思不得排遣,民雄追赶来到她身边,回答了由美子挥之不去的疑问。

评论

  • ____anybody

    片子英文名叫illusion,是当年某个设计课的主题

  • wjjjjjjjj

    长镜头,中远景,淡淡的忧伤,对生与死的探寻。

  • 你看不见我

    有点闷。与之前看的几部是枝裕和很不同。

  • 抖皑木

    处女作就小津侯孝贤附体,也是厉害。幻之光=死亡本能?浅爷嫩得简直像绫野刚!

  • 嗨孩海氦

    最喜欢的一部是枝裕和,尽管后来的影片继承了这种细腻,温情的特质,但关注点放在了社会层面。可惜他不再拍这种“无情节美学”,探讨爱与生死的电影了。

  • 大卷may

    经常看着一个人会想:表面生活平稳行进,那不曾显露人前的内心呢?它也一定一路累积承载,记忆,疑问,选择与失去。内里的生活被表面掩盖,一切显得简单理所当然。可不是的,底下的是崎岖暗涌。/天幕下,送葬队伍后一小段距离紧紧跟着,就是那紧追不舍内心顽固的疑问与悲伤。击中我心,时时回响。

  • La Cotiere

    更像侯孝贤,我很讨厌女主的长相以及演技😂

  • 安亦Regina

    如此安静的离开,更让人不知所措。 送葬和最后海边的镜头美得没话说。

  • fishsheep

    好想知道女主唱的那首歌的名字

  • 二狗子是傻子

    纠结多年的疙瘩,经别人一说,也许原因没那么复杂。

  • 奇帝

    爱你的人离开得悄无声息

  • 镜秋

    奶奶的不辞而别,丈夫的转身离去,结下因却一直无果,看似清淡的生活却压抑着深切的苦闷,是枝裕和的电影总是更像是一场早已知道结果的命题作文,只是这一部的风格却是不同后来。

  • 日目力

    不知道什么时候开始,如果别人问我最喜欢的导演是谁,我会说,是枝裕和

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