"The End Of The Journey, The Beginning Of The World": Kiyoshi Kurosawa'S Heterogeneous Theme

Liu Ying / Wen

In the early years, Kiyoshi Kurosawa, who established the name of "Japanese horror master" by virtue of "X sage" and "Tokyo sonata", was best at joining in the trivial details of life. In recent years, Kiyoshi Kurosawa has been trying to create new elements in his creation. Whether it is the warm background in the "shore trip" or the setting of the brain hole in the alien invasion of walking invaders, it shows the efforts of a mature creator to break through himself.

In his new work, "the end of the journey, the beginning of the world", Kiyoshi Kurosawa took the proposition composition of the 25th anniversary tribute films of Japan Uzbekistan diplomatic relations, and carried out an expedition in exotic ways with his unique way. The film caused great disappointment in the director's iron followers. Critics thought his writing became more mainstream and more boring. However, apart from the packaging of the theme, we can still find the symbolic strokes belonging to Kiyoshi Kurosawa in the film. He has put a Japanese tourism program crew in the hinterland of Asia, and has made a more intensive discussion on the core of his constant concern, the daily alienation of contemporary society. In particular, with the advance of the film and the collision with foreign cultures, he gave his own solution.

The end of the journey, the beginning of the world. Data map

"The end of the journey, the beginning of the world" follows the hostess leaves in Uzbekistan, a rather mysterious country. The leaves and five people came to the local to shoot the travel program. Before the camera, she did her best to show the enjoyment of the local customs. However, contrary to expectations, cultural differences, language barriers and hasty preparations led to the difficulty of filming from the very beginning. As the only female in the production group, the leaves always bear the unnatural difference of their male colleagues. After a high-intensity shot, they almost collapsed. The strange environment created extreme fear, and the leaves gradually became overwhelmed. During a trip, she took DV away from the big army and started a double adventure of body and soul.

Kiyoshi Kurosawa set the tone for this story to be peaceful. Quite routine photography and scheduling style make the film look like a simple documentary for most of the time. However, he cleverly buried the introspection, and gradually led the audience to the same state of being lost as the leaves. As a "otherness", Uzbekistan has many unconscionable reasons in the eyes of the Japanese from the developed countries. People are used to seeing unfamiliar things as a source of danger. Through the psychological depiction of leaves, Kiyoshi Kurosawa constantly deepened the uneasiness of "going abroad alone". The leaves can still be relatively calm before the cameras of the camera crew. Once the shooting is finished, the sense of protection that the team and the work bring will be gone.

The boyfriend of the leaf is a firefighter in Tokyo. Because of the relationship between work and jet lag, he can only make occasional emotional messages through SMS. In the movie, the communication between the leaves and the surrounding areas is invalid. But it is interesting that this failure occurs not only between her and the locals, but also between her boyfriend and her colleagues. Through such a juxtaposition, the black behind the screen behind the screen reminds the audience that the understanding between individuals is difficult to achieve, and has little to do with the differences between the state and the nation. People in a more mainstream culture always blame the weak culture on the plight of communication. As the Japanese film producers often complain, "why can't they (Uzbekistan people) deal with problems like us?" Here, "we" and "them" seem to be completely contradictory and become the object of directing criticism. The leaves wandered around the city alone, just to the local police. After a moment of restlessness, she hurried away, and the police followed her. Finally, the local law enforcement officers came panting and asked why the leaves had left. In fact, they are not malicious, just want to face each other to ask questions. Kiyoshi Kurosawa joked that the audience was mistaken that the great danger was about to come, and it was impossible to panic with the leaves. Finally, the truth came out. It turned out to be a misunderstanding. And the leaves after the peace of mind also came to the mountain on the outskirts of the city, and finally they could sing with ease.

In the final analysis, "the end of the journey, the beginning of the world" is a lightweight piece disguised as a thriller. It tries to reflect on the importance of cultural exchange with daily narrative in 42 aspects. In this dimension, the film can be listed in the top ten of the 2019 Japan journal.