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All About Lily Chou-Chou

Originaltitel: Riri Shushu no subete
  • 2001
  • Unrated
  • 2 Std. 26 Min.
IMDb-BEWERTUNG
7,5/10
12.877
IHRE BEWERTUNG
All About Lily Chou-Chou (2001)
Coming-of-AgePsychological DramaTeen DramaTragedyCrimeDramaMusicRomanceThriller

Das problematische Leben jugendlicher Studenten, für die die verträumte Musik der Sängerin Lily Chou-Chou die einzige Möglichkeit ist, einer entfremdenden, gewalttätigen und unsensiblen Gese... Alles lesenDas problematische Leben jugendlicher Studenten, für die die verträumte Musik der Sängerin Lily Chou-Chou die einzige Möglichkeit ist, einer entfremdenden, gewalttätigen und unsensiblen Gesellschaft zu entkommen.Das problematische Leben jugendlicher Studenten, für die die verträumte Musik der Sängerin Lily Chou-Chou die einzige Möglichkeit ist, einer entfremdenden, gewalttätigen und unsensiblen Gesellschaft zu entkommen.

  • Regie
    • Shunji Iwai
  • Drehbuch
    • Shunji Iwai
  • Hauptbesetzung
    • Hayato Ichihara
    • Shûgo Oshinari
    • Ayumi Ito
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,5/10
    12.877
    IHRE BEWERTUNG
    • Regie
      • Shunji Iwai
    • Drehbuch
      • Shunji Iwai
    • Hauptbesetzung
      • Hayato Ichihara
      • Shûgo Oshinari
      • Ayumi Ito
    • 62Benutzerrezensionen
    • 57Kritische Rezensionen
    • 73Metascore
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 4 Gewinne & 1 Nominierung insgesamt

    Fotos41

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    Topbesetzung28

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    Hayato Ichihara
    Hayato Ichihara
    • Yûichi Hasumi
    Shûgo Oshinari
    • Shusuke Hoshino
    Ayumi Ito
    Ayumi Ito
    • Yôko Kuno
    Takao Osawa
    Takao Osawa
    • Tabito Takao
    Miwako Ichikawa
    • Shimabukuro
    Izumi Inamori
    • Izumi Hoshino
    Yû Aoi
    Yû Aoi
    • Shiori Tsuda
    Kazusa Matsuda
    • Sumika Kanzaki
    Ryô Katsuji
    Ryô Katsuji
    • Hitoshi Terawaki
    Chiyo Abe
    • Shizuko Hasumi
    Takako Baba
    • School girl
    Anri Ban
    • Noriko Izawa
    Kaori Fujii
    • School nurse
    Shinji Higuchi
    • Otaku
    Takahito Hosoyamada
    • Kentarô Sasaki
    Hayato Isohata
    • Matsunori Iida
    Yuki Ito
    • Kamino
    Tomohiro Kaku
    • Masashi Tadano
    • Regie
      • Shunji Iwai
    • Drehbuch
      • Shunji Iwai
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen62

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    chaos-rampant

    Busy Breathing

    I was perhaps lucky to have seen a Hollywood film a few days prior, Alexander Payne's latest and supposedly also about a spiritual journey of sorts and passing for an 'indie'. The comparison is devastating.

    The many times Oscar nominated film: airbrushed beauty mistaken for purity. This little obscurity: lyrical breath and pulse from life.

    In 1968, there was a film made in Japan called Nanami: Inferno of First Love, also Japanese New Wave about confused, apprehensive youth feeling the first pulls to join the fray of existence: love, pain, loss, all the adult stuff they used to know as words. The fulcrum of that film unraveled from this notion: if you peel a cabbage you get its core, but if you peel an onion? (this is really worth puzzling over btw, in a Zen way, and the film worth seeking out.)

    The answer to that very much pertains here. This is the New New Wave: even more visual episodic movements through edges of life, even more radical dislocations from the ordinary world of narrative.

    The story is about teenage high school students: cliques and counter-cliques and much tension and drama inbetween them as they discover love and power. This is woven together with a thread about music, revolving around a band named Lily Chou-Chou that is all the rage among youth. Now and then conversations are enacted in some unspecified blogosphere: this is given to us as disembodied words against a black screen. We presume we'll get to know the people behind the nicknames and identify them as one of several youths whose lives we intimately follow in its petty cockiness and idle pleasure, or even worse that they don't matter at all and this is purely ornamental. It is actually much, much deeper.

    Now we're lucky this is Japanese, and even perhaps unconsciously so. Typical for New Wave, the world is distinctly modern and vibrant. It is all about youthful rejection. But as with Oshima and the rest back in the 60's, what these guys perhaps don't know is that French film that seemed so radical and appealing to the Japanese at the time and was presumed to have re-invented cinematic grammar, it was built on precisely what the Japanese had first revolutionized about representation in the 18th and 19th century. The calligraphic eye.

    So every rejection of tradition that we find in those films, or this one now, only serves to re-discover what was so vital and groundbreaking about Japanese tradition in the first place.

    In other words: if the old Zen Masters were alive now, all of them exceptional poets or landscape painters in their day and with a great sense of humor, they would all be New Wave filmmakers.

    This is as Zen as possible and in the most pure sense of the term. Transparent images. Vital emptiness. Calligraphic flows to and from interior heart. Mournful beauty about what it means 'to read the love letters sent by the moon, wind, and snow', to quote an old Buddhist poem. Plum blossoms at the gates of suffering.

    So this is where it goes deeper than say, a new Malick film. There are no intricate mechanisms to structure life. That is fine but what this film does is even more difficult to accomplish. Just one lush dynamic sweep of a calligrapher's brush that paints people and worlds as they come into being and vanish again. I have never seen for example a film present death so invisibly, so poetically.

    So if you peel a cabbage you get a core, but if you peel an onion?

    We may be inclined to answer nothing. The film may seem like it was about nothing, at best tears from a teenager's overly dramatic diary. The form mirrors the diary after all, after Jonas Mekas. A whole segment about a trip to Okinawa is filmed with a cheap camcorder.

    Let that settle and then consider the following key scene: a choir of students gets together for a school event to sing a capella a complex piano arrangement, Debussy's Arabesque. They had a perfectly capable piano player to do it but wouldn't let her for petty school rivalries. So once more we may be inclined to think that it was too much hassle for something so simple. Adults would never let things reach that stage. A compromise would be made, the piece would be played on the piano, properly.

    Now all through the film we see kids listen to music, everyone seems to have his own portable cd-player for that purpose. Presumably they listen to Lily Chou-Chou, who we're told was heavily inspired by Arabesque. We don't actually listen to her. We never see her or the band, at the big concert we're left outside and marvel at a giant video projection: artificial images in place of the real thing.

    But in this one occasion the kids achieve something uniquely sublime: they articulate the music, actually embody it, by learning to be their own instruments and each one each other's.

    The entire film is the same effort: to embody inner abstract worlds and their 'ether'. The method is rigorous improvisation.

    Something to meditate upon.

    (This is one of two best films from the decade in my estimation. Incidentally both were shot on digital, our new format for spontaneous discovery).
    8d-dog

    Filmmaking at its best

    This is a film that makes you feel more than it makes you think. Combination of poetic images and magnificent music takes you to a new level of emotion. Iwai used emotional space of each characters as well as physical space very well throughout the entire film, it is hard not to make connection with them. This is what the cinema is all about in my humble opinion. Emotions be felt by images and sound.
    10lilyholic

    One of the most breathtaking movies out there...

    The one agreeable thing that can be said about Shunji Iwai is that he makes beautiful images. Lily Chou Chou is his most recent release (and let me state, since someone incorrectly wrote it is pronounced "Choo Choo" it is not, it is spoken "Shoo Shoo"), and one of his most coherent films. For some reason this movie seems to puzzle a lot of people... maybe it is the translation from English to Japanese (I watched the movie in Japanese dialog only, so I don't know if they killed it with subtitles or not), but the movie's plot is really not so complicated. If you know a little bit about Japanese life and culture, the emotions of youth, and devotion to an artist then you can watch this movie and understand it. Even for those who were confused by the plot, another one or two viewing should clear up any misunderstandings. Iwai does have some issues with complicating plot stories, or leaving out plot at all. As a writer he is great, but not perfect. As a director of film and photography he is mind blowing. The images that Iwai creates and displays to the audience are the most beautiful presented. Whether or not the story behind this movie shines to you, the images should be enough to blow your mind. Iwai uses re-occurring themes to present lovely contrasts. He also chose a beautiful selection of music to accompany his film, from Debussy to old Okinawan songs to Lily Chou Chou's own. If you pay attention to the gentle subtleties presented in this film, there is no way you can walk away with your life unchanged. I know this film has changed my life, and has become my main source of inspiration.
    gosh_a_mosh

    great film, intelligent watch.

    I loved this film, it is very complex but is also very captivating. the complex narrative and set of characters add to the charm of the film. it also makes the film something to think about, even if the actual events within the film are easy to follow. the use of juxtaposition of normal shots and computer screen shots(other times computer writing) is beautiful and adds to the slight mystery within the film. the use of hand held camcorders in the middle of the film compliments the narrative and helps build more atmosphere. it is a great film to watch. it is well shot, has a great cast and leaves the viewer with a sense of satisfied confusion. i personally still do not under stand all of the film, but have thoroughly enjoyed it!i would recommend this to anyone who likes Japanese films, world cinema or intellectual films that carry more substance then the average film.
    tedg

    Insolent Salt

    I don't know why I bother with Hollywood when there are so many rich projects like this hiding in corners. The problem of course is finding them. The most significant benefit I get from writing IMDb comments is that readers lead me to them. That happened in this case.

    If you are an ordinary viewer , you probably won't like this. Its yet another dip into high school angst, overly long and structurally a bit too cute.

    I think you'll have to train yourself to watch films lucidly, but if you do, this will be quite effective. You will fall into it and really be influenced, much more viscerally than say "There Will be Blood," where there is no path for us to enter the world we watch.

    The matter of this concerns teen alienation, particularly through how we/they take things that happen and weave them into whatever simple, grand narrative is available — usually through commercial pathways. Its a simple chord to strike, but one we all know, both from when we were that age, and from how we live now, which is only a half degree separated.

    You'll encounter death, teen prostitution, rape. Gang dynamics involving intense humiliation. Clueless adults of course. Sexual drives and identity vacuums of course, but subordinated to the more overwhelming urge to be part of a cosmic story. Usually, we ignore this in film, because sex and role are inherently more cinematic. Less true, but easier to show as true.

    Its the multiply nested structure that makes it work. The scenes are presented non- linearly. The overriding narrative is not what we see, but a collection of instant messages exchanged among the characters we see. These evoke the images we see, perhaps not as they happened, but as they are recalled. There's an overarching cosmos that these text messages reference, an abstract, perfect world of ethereal dynamics conveyed through a goddess, a girl singer. The slightest nuance from, the smallest bit of news about, the slightest rumor concerning this singer provides ledges for a life, for a whole gaggle of lives bumping up against each other.

    In the center of this thing, you have a radical departure. All of a sudden, instead of the camera anchored in the test messages, we have a camera rooted in reality. Its literally footage from video cameras from the core teen boys as they go on an exotic vacation to Okinawa. Naturally, the four spindly 14-15 year olds are guided by four of the most appealing older girls in memory. Its colorful, jerky. Full of life, a real, embodied life that by its appearance makes all the rest of the thing seem incredibly sad in its artificiality.

    Someone knew what they were doing when they put this together. Someone deep and true and of the kind we need more of if we are to make it through. Or do I hang my life on commercially available narrative too?

    Heh.

    Ted's Evaluation -- 3 of 3: Worth watching.

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    Handlung

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    • Wissenswertes
      At one point a character describes Hoshino's mom as looking like Izumi Inamori. This is the actress that plays Hoshino's mom.
    • Zitate

      Yûichi Hasumi: For me, only Lily is real.

    • Crazy Credits
      The opening takes the form of social media messages from a number of people, depicted as though they were being typed at the moment, using a QWERTY keyboard but with Japanese installed as the language. providing assorted viewpoints of Lily and her impact. This is repeated at the end credits. Also, although the film is in Japanese, the end credits are in both Japanese and English.
    • Alternative Versionen
      There are two versions available. Runtimes are: "2h 26m(146 min)" and "2h 37m(157 min) (original cut)".
    • Verbindungen
      Referenced in Kill Bill - Vol. 1 (2003)

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    FAQ17

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    Details

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    • Erscheinungsdatum
      • 6. Oktober 2001 (Japan)
    • Herkunftsland
      • Japan
    • Offizieller Standort
      • Official site
    • Sprachen
      • Japanisch
      • Ryūkyū
    • Auch bekannt als
      • Khúc Cầu Siêu Của Tuổi Trẻ
    • Drehorte
      • Iriomote-jima, Okinawa, Japan(Summer 1999)
    • Produktionsfirma
      • Rockwell Eyes
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 26.485 $
    • Eröffnungswochenende in den USA und in Kanada
      • 3.064 $
      • 14. Juli 2002
    • Weltweiter Bruttoertrag
      • 171.781 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      2 Stunden 26 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
      • DTS
    • Seitenverhältnis
      • 1.78 : 1

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