Cinemyths

很喜欢黑泽清影像中附着在“发生”呈递效应中的“麻木”，难得的一点是，这不是一种消极，而是更接近倦怠，它引导着众多状态指向波澜不惊的温和。即便一如鬼魂和末世，他们依然拥有散步和睡眠，就像身处飓风的中心，风波只在观众和角色之间的地带肆虐。

——

Personally, I feel satisfied with the lassitude reflected in most of Kyoshi’s characters’ attitudes towards their unexpected encounter. What makes this sense special is that their subdued reactions do not register as jaded or phlegmatic, let alone as feckless; rather, it is a sense indicative of the protagonist’s awareness of their own mortal loneliness, a deep-buried realization that has already evolved into an enduring mood of tolerance and become far alienated from the realization itself.

The granted satori, as a result, allows Kyoshi’s subjects to disengage the uncanny spectacle from its macabre appearance, retaining things’ saturnine yet essentially soft form. As the doomsday approaches and apparitions pervade the familiar world, we see the persons in the film still have their lives composed: they eat and sleep placidly, and in the interim, they saunter. Perhaps in Kyoshi’s contemplation, the shape of calamity is vortex-like; at its heart there is the permanent serenity. And perhaps because the viewer always attempts to make the twisted edge attainable, one is frequently warned and disturbed.

—— 2022.10.21