2021年8月26日

抱歉，您的浏览器需要Javascript才能使用此站点。如果你不确定如何激活它，请访问这个网站:https://www.enable-javascript.com/ 8月26日他的作品中贯穿着一种讽刺的观察式幽默，并结合了一种温暖而冷酷的人文主义。他的电影可能被打上古怪喜剧的标签，但它们基于普遍的人类问题，从面对失败的恐惧(《樵夫与雨》)到找到你在世界上的位置，无论多么渺小(《森，艺术家的栖息地》)。与许多严肃的日本电影的黑暗相比，Okita的作品散发出一种温和的乐观主义:他的角色都是好人，他们可能不会总是赢，但不会在痛苦的失败中沉沦。和我们很多人一样，他们也得过且过。《一个夏天的故事》是大田佳太第一部一直很受欢迎、但却充满套路的青春电影，而且非常有他自己的风格，尽管他的故事是根据田岛列人2014年的同名日本漫画(《Kodomo wa Wakatte Agenai》)改编的。一个夏天的故事(Kodomo wa Wakatte Agenai)现在显示他的主角，南樱田(Moka Kamishiraishi)，属于高中游泳队，痴迷于动漫系列“布法罗Koteko是神奇的抹灰者”。(是的，“抹灰工”——这可能是迄今为止唯一一部以建筑材料为角色的动漫。)她随和的继父(古utachi Kanji饰)也很喜欢这部剧;当她宽容的妈妈(斋藤由纪饰)试图管住她的弟弟时，他们甚至一起唱主题曲。 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.