2021年8月26日

抱歉，您的瀏覽器需要Javascript才能使用這個網站。如果你不知道如何激活它，請參考這個網站:https://www.enable-javascript.com/ 2021年8月26日衝田修一是當今為數不多的具有一眼就能認出來的風格的日本導演之一，盡管這不是鏡頭角度的問題，而是他看待世界的方式。他的作品貫穿著一種諷刺的觀察式幽默，並結合了一種溫暖但不多愁善感的人文主義。他的電影可能被貼上古怪喜劇的標簽，但它們都是基於普遍的人類問題，從麵對失敗的恐懼(《樵夫與雨》)到找到你在世界上的位置，無論它有多小(《森，藝術家的棲息地》)。與許多嚴肅的日本電影的黑暗相比，衝田的作品散發出一種溫和的樂觀主義:他的角色都是好人，他們可能不會總是贏，但不會在痛苦的失敗中倒下。像我們許多人一樣，他們得過其實。《一個夏天的故事》是Okita的第一部膾炙人口的青春電影，盡管他的故事改編自田島雷人2014年的同名日本漫畫係列(《Kodomo wa Wakatte Agenai》)，但它完全是他自己的作品。一個夏天的故事(Kodomo wa Wakatte Agenai)評分現在顯示他的主人公，南櫻田(Moka kamishirishi飾)，屬於高中遊泳隊，癡迷於一個名為“水牛Koteko是神奇的抹灰師”的動漫係列。(是的，“抹灰匠”——這可能是有史以來唯一一部以建築材料為角色的動畫。)她隨和的繼父(古立幸治飾)也很喜歡這部劇;他們甚至一起唱了主題曲，因為她寬容的媽媽(齊藤由紀飾)試圖管住她的弟弟。 Your typical dysfunctional family they are not. Minami finds out that her classmate, a talented calligrapher named Shohei Moji (Kanata Hosoda), is also a fan of the show. The pair instantly form a bond and romance seems set to bloom when Minami decides to embark on a search for her biological father, who left when she was a small child but lingers in her mind as a mystery in need of solving. She enlists the help of Shohei’s transgender brother, Akihiro (Yudai Chiba), a smart and sympathetic, if unconventional, private investigator. The story belatedly kicks into gear when Minami, who has told her parents that she is at summer camp, finally tracks down her dad (Etsushi Toyokawa), the recently resigned leader of a religious cult. This being an Okita film, the father-daughter reunion does not result in recriminations about old wrongs — the go-to development in many a Japanese drama. Instead, Minami and her dad, now upfront about his inadequacies as a guru and a parent, bond in ways that feel right to their contrary natures and respective pasts. Playing Minami, Kamishiraishi checks none of the usual boxes for seishun eiga heroines. Instead of scowling like a teen rebel, she giggles uncontrollably at anything she finds odd, including her earnest swim team coach’s vocal tic (which the subtitles translate as “capeesh,” making him sound like a character in “The Sopranos”). A true original, Kamishiraishi lights up any scene she’s in. As her father, Toyokawa is charismatic and enigmatic in equal measure, if with an air of rueful loneliness that recalls the great Chishu Ryu at the end of Yasujiro Ozu’s 1949 masterpiece, “Late Spring.” Be prepared to shed a tear — and learn the lyrics to the “Magical Plasterer” song. In a time of both misinformation and too much information, quality journalism is more crucial than ever. By subscribing, you can help us get the story right.