Reviews

This by no means was a comedy and shouldn't have been labeled as such

This was a hard movie to watch due to the subject matter. The evil in the world is never easy to watch. That said, I really enjoyed the acting and the action. Kim Woo Bin does such a fine job with micro-expressions, and I really liked the development of his character. There was a possibility of him going down a certain path, and I'm glad they didn't take that direction. Also, thank you for not trying to add in romance. (though I'd love to see him in a romance!)

I thought that the action sequences were very well-done.

Personally, I was glad this was a movie and not a series. It got straight to the point without wasting time.

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An inspiring story about rising from failure and transforming into a better person.

Overall, the movie's narrative is successful-it communicates a clear moral message to the audience. However, I feel unable to give an objective assessment of a movie with LGBTQ content. This movie not only hints at but explicitly tells the story of transgender. Therefore, what should have been a positive rating for this movie is reduced by the content. In terms of acting, the cast has performed adequately. They managed to express emotions that can be felt by the audience. The music in this movie is adequate, not too dominant but also not disappointing. I assure you that a movie with an LGBTQ campaign would not be something I would consider watching again.

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Great adaptation!

As everyone else said, I think the actress who played Hachi didn't fit her. The Hachi from the first movie played her excellently. I will say that the Shin in this movie was a better cast.

I don't think I noticed this in the first movie, but for this one, wow! The wardrobe and accessories were very accurate; I think they did an amazing job. This is such a great adaptation; the script, cinematography, and clothing are spot on and it was satisfying to see. It felt rewarding to watch this after finishing the anime, I enjoyed it.

Overall, it is an excellent adaptation and movie; well done. I'll love the story of Hachi and Nana forever.

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it's too sweet for me ?

this is what sequel need to be made! even with different cast, they success to set their cast to be the exact same as the previous sequel. how takagi act as takagi it self so good. ofc for nishi too! overall it's too much sugar in it, it's too sweet <3

lastly, it yet slow paced but melancholic. how the acting, set and the storyline are perfectly balanced. easy one of the best ending for a series in my opinion, i hope if some production want to make a series from manga or aanime adaptation this is how they should be made. opinion are opened, but this is what my pure base on my honest opinion are.

once again, T H A N K S ❤️

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Uncut edition

One of the most iconic cult martial art films of all time, the influence felt by Master of the Flying Guillotine can still be seen in pop culture to this very day. Nothing captures the imagination of genre fans like the notion of a mechanical device being hurled through the air to behead its victims. With its nonstop flurry of fighting, ersatz bloodletting and incidental hilarity, this sequel to Jimmy Wang-Yu's earlier One-Armed Boxer doubles down on what made that film work, ultimately leaving this film as his most fondly remembered and signature work, very few films can compete with having a one-armed hero, a blind antagonist who wields a Flying Guillotine and a stolen Krautrock on its soundtrack. The main plot is completely nonsensical and only serves as window dressing for the film's bloody trail of vengeance and tournament antics, one that Yu directs with exhilarating energy. After a series of ultra-cool martial arts set pieces, choreographed fiercely and imaginatively by Lau Kar Leung, Yu eventually faces Kam Kong in an awesome coffin-tossing, wall-climbing, one-arm boxing, guillotine-throwing finale. As writer, director, and star Yu proved to be an extraordinary showman whose creativity, experimentation with genre conventions, and knack for surrounding himself with great talent results in a recipe for a marvellously manic film, Master of the Flying Guillotine needs to be seen to be believed, and even then defies belief.

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I watched the series and the movie side-by-side, and here's what I've found: in the series, there are several scenes that are cut out off the movie version, and which I think contribute to understanding the characters and the plot a bit better.

What I liked:
* All of the characters in the boarding house. They each have their own personality, which we can see even though the story's so short.
* The acting. All of the actors make it possible for us to get to know the characters and their thoughts.
* I liked the friend from college, Bong Deok, the most, who showed remarkable depth of character. Kudos to his actor, I'd like to see him in more dramas.

What I did not like:
* I think they people responsible for the project chose the wrong story for their format. For these short dramas / average length movies you cannot have an ensemble drama and expect a cohesive storytelling that has enough depth to be satisfying. Something will have to be left out, and it shows. I imagine the original work this is based on is much longer and allows for more character development.
* Why did they bleep out the swear words, even put a flower over the actor's mouths? I don't understand why they did not just put a different text for the actors to speak there, if they wanted to keep their low age rating.

Overall impression:
I do not regret watching this show, as the story was cute, the characters likeable and the actors did well. But this is by no means a must-watch; we have enough BL dramas by now that we can choose those of higher quality.
If you have not yet seen it, but want to, I recommend watching the series, not the movie. Although the change between episodes is a bit annoying due to their shortness, the scenes which are not in the movie are entertaining. Also, the movie's background music is sometimes a bit too strong.

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"Women are like products for sale"

Burden of Life was a short Gosho Heinosuke film from 1935. Not going to sugar coat this one. I hated it. Even taking into account the time period, it was so overtly sexist that it made my blood boil.

There might be a couple of elements below that could be considered spoilery:

The film starts out safely enough (sort of) with a playful bantering of the sexes. Itsuko is the middle sister married to an artist who paints semi-nude portraits of her. They live beyond their means and rely on her parents helping them out with money. Oldest daughter Takako is married to Tetsuo and are always fighting. He disapproves of her buying anything for herself, yet he spends his time in hostess bars drinking and buying drinks for the hostesses. Machiko, the youngest daughter, is about to be married which is costing her dad more money. Nine-year-old Kanichi is the baby of the family. He stays away from his dad as much as possible, even eating dinner in the kitchen to avoid him. Shozo has nothing good to say about the boy. His mantra is, “We never should have had him.” Finally, the mother has had enough and begs the father to be kinder to him and plan for the son’s future as well.

I’ve watched numerous older films, but the gaslighting of the mom to prove that the father knew best and women were overly emotional was too much for me. There appeared to be a tiny softening of Shozo near the end but it was not nearly enough for me to accept any real character growth. I found the father’s attitude deeply disturbing. Shozo didn’t know Kanichi’s age and had no plans for the boy to be educated. He considered the boy too short and too ugly to ever be married. Surprisingly, this was one of the first times I’ve come across a father wanting to be rid of a son. Daughters were often lambasted as being useless, but sons always seemed to be coveted. Shozo’s domineering attitude toward his wife had me hoping she’d smother him with her pillow while he slept. He kept saying he wished Kanichi had never been born, being as brilliant as he was, surely he knew how babies were made, didn’t he?

Despite the age of the film and knowing attitudes have changed in the last nearly 100 years, I could not enjoy this film at all. Other early directors had a modicum of respect for their female characters and audience. A child being continually rejected by his father destroyed any enjoyment I might have had with this film otherwise. If you are a fan of Gosho or can tolerate bad parenting and dismissive attitudes for women, at 67 minutes it’s worth a try. I gave myself a day to think about it and try to rationalize the father/husband’s behaviors and the neighbors’ but am still mad. Given this was supposed to be a lighthearted slice of life, I don’t think that’s the response Gosho was trying to elicit.

17 November 2024

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A slow burn and communicating as if you can speak no more than 100 words a day.

I was super excited to watch this movie after the adorable drama, but it fell flat. Why? Because the characters lost the charm they had as students! The teasing that was once playful and fun now felt dull, and the reactions were as lifeless as a soggy noodle. It was all very sophisticated, mindful, and demure lol... and honestly, kind of boring for a two-hour movie. We knew they liked each other, but they could’ve taken the story in so many directions. They could’ve shown us their funny dating life or made them realize their love was more than just a teenage crush. But nope, they just kept circling around.


They threw in a side plot about two other students, but if you’ve seen a Japanese romance that isn’t a tragedy or comedy, you know exactly what’s coming: aesthetically pleasing shots, actors delivering deep “poetic” speeches about love and life, and supporting characters acting like they’re in a serious art film.


My main frustration? Nothing really happened.

They met, they were in love, and after five or so encounters and 10 minutes of vague, “what are we doing” dialogue, they finally confessed.

I’ll give credit where it’s due—the visuals were gorgeous, and the actors were cute, but the story? Meh. You’ll watch and think, *Oh, young love is so pure*, but honestly, they didn’t build on the solid foundation they had. It’s like having a fancy cake and realizing it’s just made of frosting—pretty, but empty.


But I did rate it 5+ so it's worth a try!

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Disconnected

This review was difficult to write because I came away from this movie confused and unsure of how to put my feelings into words. I’ve come up with a starting point which is that the movie felt flat. The story plateaued the entire time. There were no ups and downs. There were no highs and lows. There wasn’t really a climax, a low point, and a satisfying resolution that felt earned. I knew what the result would be at the end but when that result came to be, it felt like it wasn’t deserved or rather, it felt empty, it felt hollow.

The characters and their relationship:

I felt like on a conscious level, in my brain, I knew the characters liked each other because I was told that. I could see some of it manifest in their behavior but it felt more like I was being told something was true when I couldn’t really feel it. There was a disconnect between what I knew and what I felt. This was the biggest point I had trouble putting into words. The plot made sense and the ending made sense for the characters and was expected and yet it felt like it came out of nowhere and yet everywhere at the same time. Maybe there was a lack of chemistry between the actors but I’m not so sure that was the problem. It was like there was a disconnect between the narrative script and the movie we watched. It’s strange because they should be one and the same and yet they weren’t.

The characters themselves:

I think the characters felt stuck at 14 years old because that is where we left them at the end of the drama. It felt like because we just skipped 10 years and didn’t see them grow within that time, we weren’t able to see evolution. Their fix for this was just to keep the characters stagnant and the same as they were when they were 14. They didn’t feel like 24 year old people, they felt like 14 year olds disguised as adults. It was strange and threw me off. I know why they did that. They also needed to make sure we could associate them with their younger selves but it just felt off. They felt like giant versions of their middle school selves instead of their middle school selves who have aged 10 years.

Overall, it felt like it was trying to be heartfelt, and yet it just felt empty to me. Don’t get me wrong, I enjoyed it and watched the entire thing but I think it was because I kept waiting for that moment where something big happens, then something goes wrong, and then there’s a resolution. But nothing ever goes wrong, nothing really happens much. There are plot points and yet the plot feels hollow.

Give it a watch but don’t expect much.

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Certainly better than II

Rather than offering a retread of the original film as the first sequel did, A Moment of Romance III goes in an entirely different direction. Don't expect motorcycles racing down the streets of Hong Kong, Taking the basic set-up of the first and transplanting it into a romantic period piece under the cover of a Spielbergian visual aesthetic. Despite the overly hackneyed set-up, the film proves to be decent fluff, jettisoning director Benny Chan in favour of the series' producer, Johnnie To who provides the film with plenty of lavish production values. While the script and story may be pretty generic, To makes the best of it and provides some nice war action and plenty of tear-jerking drama. Although he's seemingly set in brooding mode for most of the runtime, bringing back star Andy Lau was a great move as the chemistry between him and the returning Wu Chien-Lien, also on top form throughout, is undeniable. Eventually, everything gives way to your standard "choice of love" type deal with one of our two parties running to a romantic reunion. Ultimately A Moment of Romance III is extremely sappy but anyone chasing pretty stars and heart-wrenching pathos will not be disappointed, it's certainly a more worthwhile time investment than II.

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"So this is how I go to hell"

Got the chance to watch it in a limited film fest screening and it was definitely worth it. Let me say first that when I watched this the theater was almost full and the movie received a warm applause from the viewers.

On to the review.

The story revolves on Yoshii Ryosuke an internet reseller who purposely inflates his merchandise. As he repeats the cycle of bulk buying in cheap amount and reselling the items on the net at inflated prices, he acquires grudge from certain people who takes it into their hands to hunt him.

The first half focuses on Yoshii's routine with his factory job, her gf, his reselling on the side, and occasional talks with his school senior. The unsettling mood slowly seeps into his life starting from little pranks and gradually develops into a game of tag riddled with bullets during the later half of the movie.

The deadpan and detached characters that are all suspicious makes a great ensemble for the psychological thriller. The combination of sudden burst of emotions and subtlety of reactions in contrast to one another differentiates the movie from your usual psychological thrillers.

The script is another strong point of the movie which emphasized on the disconnection of the characters to the dire events surrounding them. Often being odd to the point of comedic.

The movie is an interesting take on the complex man who wants to keep his 'conventional happiness' as he descends on a path to hell indifferent to the bodies he leaves behind.

Suda's eyes mostly did the acting for this one. No cheap over the top reactions, no screaming, yelling, or any intense emotion except for one moment. The closing scene which focuses on his face as he utters the line "so this is how I go to hell" with the movie slowly fading out with his eyes as the last thing you see before the credits roll.

Okudaira, this young talent shines once again as a pivotal character filled with mystery. Others might not like the ambiguity of his nature and motives but I think it was perfect. His ambiguity was the take home given to the viewers. I love it when you're given something to make hypothesis on so you can discuss it with others after the movie.

Kotone seemed like an accessory for most of the part but eventually succumbs to her desires towards the end. That last little heart skip before the movie draws to a close.

Cloud is for the people who don't put everything on the scales of right and wrong or put themselves on the shoes of the lead or any character in the movie. Cloud is made for the people who enjoy a revenge, "what goes around comes around" kind of movie with unexpected turns. Those who don't mind morally gray to borderline psycho characters, ambiguity and unsettling silence. This is for the Noir fans.

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Avantgardey ou pas

Le film horrifique nippon n'a plus rien à prouver depuis longtemps. C'est plutôt sa difficulté à se renouveler qui pourrait poser un problème. Cela dit, on apprécie toujours une bonne dose de frissons à la japonaise, à partir d'images suggérées, même maladroitement, comme peut le faire Ano Ko wa Dare ?. Un collège désert durant les vacances d'été, une mort violente 20 ans plus tôt, des uniformes et des jeunes filles quasi jumelles, façon Avantgardey, mais qui ne figurent évidemment pas sur la liste de classe. Du déjà-vu qui augure du meilleur comme du pire.

Peu d'avant-gardey cinématographique
Le meilleur, c'est avec l'introduction de Sometani Shota, dès les premières secondes, qui justifie, en général, le visionnage de n'importe quel nanar rien que par sa présence. Malheureusement, je ne sais pas si son cachet a été élevé, mais son rôle est extrêmement secondaire, sans vouloir dévoiler plus sur l'intrigue. Intrigue très classique, donc. Menée, comme il se doit dans les horror movie d'été, par une Idole bankable, en la personne de Shibuya Nagisa. ultra-remplassable, à mon sens, par des dizaines d'autres membres de AKB48 et consœurs. Pas sûr que ce film fera décoller sa carrière d'actrice. C'est malheureusement le même constat pour les Lycéens, même si Hayase Ikoi du haut de ses 17 ans commence à avoir un bon CV en tant que second rôle dans les dramas des années 2020.

La peur... du maquillage qui coule.
Passons sur le make up qui est loin d'être à la hauteur, pour s'attarder sur la mise en scène horrifique. Et là, effectivement, vous allez flipper votre race, et cela, malgré le grotesque des situations. Les longs plans sur les personnages écoutant la cassette (ha..., maudite, évidement, ... que de souvenirs) ou les histoires orales d'il y a vingt ans autour d'un canapé. Toute l'horreur suggérée par la magie des mots et de l'ambiance et toujours avec très peu de violence ou de scènes gores. Une violence présente, dûe à la situation. Surtout dans un contexte familial, par le mal fait à ses affiliés. L'horreur vient dès les premières secondes, mais il est dommage qu'elle prenne pour contexte un énième suicide du haut d'un toit de lycée. Va-t-on enfin placer des barrières sur ces toits. À priori non, puisque 20 ans après, on peut toujours y accéder et s'y jeter. Et on n'est pas à une incohérence près comme ce magnéto jamais analysé, resté dans la voiture d'une casse durant 20 ans. Les scènes d'horreurs deviennent presque plus réalistes que celle de la vie de tous les jours du coup.


Un film sans prétention, qui fait le Job au niveau frisson. Décevant par le manque d'ambition pourtant possible par la seule présence d'acteurs pas si mauvais. Mais décevant également par une horreur surjouée pour endiguer un faux suspense dont les ficelles sont dénouées dès la première demi-heure. Reste quand même ces jump scare, qui vous feront vérifier que vous êtes bien seul en allant aux toilettes, avant d'aller vous coucher. Vous savez ? Celles où il y a déjà la mamie assise quand vous ouvrez la porte.

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What to do when you feel your relationship and your life has reached a breaking point?

This is not a happy story.
(tw: depression, child abuse, chronic illness)

This short film, like most short films, leaves a lot of meaning unspoken and questions unanswered.
That means if you can't find a connection to the struggles of at least one of the two main characters, this film might be hard to "get".

The characters have to deal with illness (of the mind and of the body), their own and their partners; with prejudice toward their sexuality and towards their profession.
What to do if, on top of all of this, you feel trapped in your relationship? When you feel that you lose yourself, bit by bit?
Will you go on a long-distance journey or stay with your partner?

The pain of the characters is apparent in every movement of their faces and bodies. The minimal music and the cold late autumn surroundings underline their bleak situation.

One thought about the plot: I was completely thrown by the twist in minute 20, which made a lot of things about the woman much clearer. I had to rewatch the whole film just to understand her better.
I'm not sure I like what her ending scene implies about a possible connection between that twist and her sexuality, but maybe I'm reading too much into it.
(Edit: After thinking about this some more, I arrived at an even sadder coclusion about her life and her decisions. Another point in favour of this film. Made me think, and question what I saw.)

And a thought about the subtitles: Those on GagaOOLala are not good. They are good enough to understand the plot, but the obvious grammar mistakes make me wonder if there are nuances that pass me by just because of the bad translations.
I also wonder about the subtitles for the ill partner. We get them, and know what he says, but the main character doesn't (he says so during the therapy session) -- so, does the Korean version have subs for the partner's sentences? Or do international viewers know more than the main character AND Korean viewers?

Overall, I found the story extremely painful and bleak. And I can understand why some viewers don't like it -- for those who have experienced at least some of the characters' struggles, the film might give a better connection to the themes.
The excellent acting and production alone is worth it, I think. (According to the info on GagaOOLala, this film was awarded the Grand Prize of the 2020 Ansan Dan-won International Cultural Art&Film Festival, so it can't be just mid.)

I'd suggest that you try it, it's just 29 minutes, after all.

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Love on the menu or menu without love?

Han Ji Yoo likes to eat and drink. Unlike his friend and roommate Park Ji Ha (Jeong Ho Gyun), Ji Yoo drinks to forget his sorrows. Recently, his boyfriend broke up with him and working on the marketing team of a soju production company, called Pai Syn Tang Liquors, even helps to get free samples of the distilled drink native to Korea and preferred by the youth of that country made at base of rice, potato, wheat, barley, sweet potato or dangmil, among other ingredients.
One day, the extroverted young man must fulfill an assignment from his work team to find an up-and-coming chef to partner with to help promote the company.
In this way, Ji Yoo returns to the restaurant owned by the handsome and talented chef Park Ki Hoon and from which he was expelled for asking to be served soju. His mission is to convince him to be the chef of an advertising campaign.
But how do you get a chef who meets the proposed requirements when he hates alcohol and refuses not only to sell alcoholic beverages in his restaurant, but also expels customers who try to smuggle liquor into the restaurant? How could such an introverted person, with stage fright, who refuses to give interviews and does not even have social networks because he does not like dealing with others, appear on television programs and become an idol?
Han Ji Yoo's pleas to Park Ki Hoon to consider the company's proposal will be fruitless, which could even be very useful to promote his own establishment in the face of negative publicity from dissatisfied customers who cannot have drinks in his restaurant.
Han Ji Yoo refuses to take no for an answer, so she takes a part-time job at the restaurant in an attempt to get to know Park Ki Hoon better and find a way to finally get him to agree to work with her agency who runs the risk of being fired if he cannot convince the chef.
As the men begin to get to know each other, they develop feelings for each other. Hence, from the first moments in the relationship of the two protagonists, a powerful question arises: could love be on the menu?
On these budgets is built 'All the Liquors', the South Korean Movie directed by Kim Jin Yeol ('Individual Circumstances'), which fails to satisfy me for, among other reasons, despite showing Ji Yoo as an understanding and willing person to support Ki Hoo in overcoming his anxieties and internal conflicts, his character fails to achieve true character growth.
Likewise, the trauma due to which Ki Hoon rejects the consumption of alcoholic beverages takes too long to be explained, while the story does not fully explore the changes that have occurred in the character to suddenly not only allow the consumption of alcohol in his restaurant, but also to consume it himself.
I don't find it appropriate to start the plot with the breakup of Ji Yoo and her boyfriend. It is a scene that provides no tension or any usefulness to the development of the plot. Apart from being one more reason for the character to need to consume alcoholic beverages, this character never appears again, nor does he have any weight in the story. It only serves so that from the beginning we have the information that Ji Yoo is gay, which is laughable to say the least because as viewers we already know that the intention is to narrate a homosexual romance and that Ji Yoo is one of the members of the leading couple.
But the main problem lies in the fact that the promise of a romance does not burn and the story fails to show the passion between the two boys and reach the climax.
Despite a coherent, easy-to-follow story and cozy love scenes that tantalize the audience, the narrative is slow to develop and loses momentum rather than gaining it. The initial romantic sparks are extinguished in the ending with the waves of the sea where the protagonists go, while we left want to witness an attractive romantic relationship in which deep feelings are expressed and the audience is able to convince themselves that they are seeing two people in love.
The lack of chemistry and convincing romantic development between the protagonists manages to disappoint me.
Both Ji Yoo, played by Kim Joon Hyung, and Ki Hoon, the character assumed by Won Do Hyun, fail to act convincingly in accordance with the feelings and emotions we expect from them. They give us only a very superficial relationship, while the slight potential at the beginning disappears as does the tender love story that tepidly forges.
Like dishes prepared without seasoning, the story lacks flavor and fails to excite the public.
Is the weak romance due to the fact that South Korean idols receive rejection from the homophobic, patriarchal and heteronormative South Korean society and, especially, from their fans if they star in BL dramatized films, as has happened on other occasions?
Won Do Hyun is a debut actor in this role, and after this role he has never officially been in front of the cameras again. For his part, Kim Joon Hyung does have a longer career in the acting scene of the Asian nation, even being the protagonist of the films 'Streamer' (2023) and 'The Education' (2020), and appearing in several series as an actor guest or secondary character after 'All the Liquors'.
But aren't other actors who have convincingly starred in boys' love stories and are produced annually in South Korea at equal risk of being despised by fans? Or do Won Do Hyun and Kim Joon Hyung have no prejudices when playing homosexual characters but they will have qualms about being tender and loving on screen? Will the obstacle to the development of a passionate romance fall on the script by newcomer Kim Hoy Joon?
Or will these mistakes have served Kim Jin Yeol well? It may very well be like that, because in 'Individual Circumstances', a love series between boys released in 2024, the year after 'All the Liquors', its protagonists, Ha Yeon Woo, played by Han Jeong Wan, and Seong Woo Jae, a character who comes to life through actor JunQ, builds an emotional bond with more passion and love and both clearly show that they are in love with each other.
The truth is that the absence of seduction, the lack of romance, which also lacks ardent kisses, passionate glances, sublime gestures, convinces me that both characters are just close friends or were sitting in an intermediate space between close friends and more than friends. The lukewarm connection between the protagonists contributes to the lack of seduction in the romance.
Many find the secondary couple more attractive, composed of Choi Wan (Bae Shi Jun), Ki Hoon's assistant at the restaurant, and Kim Yu A (Han Da Sol), the deputy boss of the company where Ji Yoo works. How to value a BL product when the heterosexual couple has greater potential? Aren't these arguments for the work being condemned to oblivion?
With so many BL content productions, many of them South Korean-made, the technical and artistic teams should have taken their work more seriously to convince the demanding public.
This is not a completely disappointing production. One can still laugh and dream of sitting at Ji Yoo and Ki Hoon's table, tasting delicious dishes and drinking bottle after bottle of soju, but their story, without spirit, fails to move me.
Despite showing handsome actors and actresses, 'All the Liquors' is an artistically weak exponent of BL, whose main success lies in the fact that, luckily, it is only about an hour and a half long.
So now I can answer: love is not on the menu. The menu lacks love.

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"For me, only the Ether is proof that I'm alive" "For me, only Lily is real."

"For me, only the Ether is proof that I'm alive"
"For me, only Lily is real."

One of the most depressing movies I've seen, the quintessential 'disillusioned youth' movie. It's so beautiful, Iwai's perfect direction of deeply disturbing scenes gives them a massive impact without feeling disrespectful or overdone, constantly edging the line between being overly edgy and 'emo' but never crossing it, instead being a very grounded and mature societal commentary. The plot unfolds pretty confusingly which is probably it's biggest flaw (I don't really see the point in it being non-linear) but also not something that I found issue with as it helped you flow along with it and become absorbed. If you are looking at it from some artistic standpoint, you could say that it portrayed the confusion and messiness of the youth of the characters, but idk.

The visuals and music are by far the best I've ever seen in a movie, love the soundtrack so much the album is one of my favourite albums ever if not my favourite. The score is also fantastic, Debussy was the perfect choice and the performances are especially beautiful, my favourite I've heard of Arabesque No. 1. They both combine to create a dreamy and, well, ethereal atmosphere which feels both oppressingly depressive and weightless, as if you could spread your arms and fall back into the tall grassy fields of Ashikaga. Every second of the movie has had a lot of love poured into it and it shows, on a rewatch and after further research there is a lot I missed out on the first time around. It is a unique experience and one that I haven't found anything close to.

This definitely isn't for everybody though and that's understandable, it's pretty confusing on a first watch (keep in mind it's nonlinear) and watching it with a large group of other people who are watching it for the first time made me realise that. I think you gotta be a certain kind of person to connect with this but if you connect deeply it'll be a one of a kind experience.

Spending a lot of time in Lily Chou-Chou communities online made me realise how much the movie means to so many people around the world. It's sad that the overwhelmingly bleak and cynical portrait of the world painted in the movie is reflective of real life and how many Yuichis, Tsudas, Kunos, and Hoshinos are out there. The adults are all largely absent from the children's lives, when they are present they are either fucking it up even further or giving pointless, shallow advice, leaving the kids to get sucked into a cycle of being hurt and hurting others. Their only refuge is the ether, as the tagline says:

"PAIN CAN TAKE YOU IN PRISON. THE ETHER CAN SET YOU FREE."

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