Though he remains almost unknown abroad, Jun Ichikawa is one of Japan's most subtle directors. Take this new film. On the surface it is a well produced, beautifully photographed study of a young woman falling in love and learning disappointment. But, as you watch it, this surface breaks and you fall into the real world, where young people clutch their cell phones, cannot otherwise talk with each other, have been taught little and understand less, look out on life as though from a cave and have not a clue as to what is happening to them. All of this in luminous pastel colors, a score that would not be out of place in a Claude Lelouch picture and cutely inarticulate dialogue. But follow the dialogue and it gets you no further than it gets the young people. This film, like all of Ichikawa's, is not about what is shown but what is missing. The story is elsewhere — perhaps in the style, which is purposely so excessively lyrical that it comes near hysteria — as we watch the gliding camera turns to prowling. And when the girl finally laughs, it is only at a particularly stupid TV commercial. Ichikawa (who makes such commercials for a living) has again, as in the deadly quiet "Tokyo Siblings" and in the almost unbearably poignant "Dying at a Hospital," given us morality candy-colored. We smack our lips as we watch and it is only later that we taste the bitter truth. This extraordinary film was turned down by the Cannes festival. It has no designer violence, no noir horror and no "great performances" though Rena Tanaka as the girl is perfect.
《东京金盏花》下载观后评论：
说起来一直没有系统整理过世纪初的日影，忽然发现平成年中期的女演员特质真是出类拔萃，这特质十二分吸引人但无关美丑，例如宫崎葵、广末凉子、泽尻绘里香、田中丽奈、麻生久美子、宫泽理惠等等，涌现了一大批文艺到死的情绪电影(实际上音乐也是)，而胶片拍摄更加分，那几乎从不过曝又蒙着一层灰度的影调格外亲切，阴霾天、微雨天、薄雾天、黄昏天总是比放晴天更易触景生情，我其实一直觉得4K数字电影就是太过清晰以至于和生活的实感产生了油水之隔；胶片电影里连空镜头似乎都把拍摄当时的空气收进银盐颗粒里，所以感觉上每一格画面都更真实更有黏度——当然这可能是无稽想象的“玄学”，但胶片电影的味道我实在是太爱了。// PS. 找遍全网都没有资源，居然在优酷找到了，只不过听着日语原音看着英语字幕想着汉语意思(好在大部分是口语…)
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