simon-wang
A rejoint le mai 2009
Bienvenue sur nouveau profil
Nos mises à jour sont toujours en cours de développement. Bien que la version précédente de le profil ne soit plus accessible, nous travaillons activement à des améliorations, et certaines fonctionnalités manquantes seront bientôt de retour ! Restez à l'écoute de leur retour. En attendant, l’analyse des évaluations est toujours disponible sur nos applications iOS et Android, qui se trouvent sur la page de profil. Pour consulter la répartition de vos évaluations par année et par genre, veuillez consulter notre nouveau Guide d'aide.
Badges2
Pour savoir comment gagner des badges, rendez-vous sur page d'aide sur les badges.
Avis21
Note de simon-wang
Since watching Wes Anderson's 'Asteroid City' the first time, I knew it was an important movie not only for Anderson's career but for cinema. Upon further reflection, I came to the conclusion, that it is the best movie made in the last 20 years. For context: my previous favourites were Kaufmann's 'Synecdoche, New York' and 'Portrait of a Lady on Fire' by Céline Sciamma.
The film centers on a Junior Stargazer/Space Cadet convention held in a fictional town called Asteroid City. When a group of quirky families, scientists, and military figures gather there, an unexpected occurence throws everything into chaos.
'Asteroid City' ressembles David Lynch's 'Mulholand Drive' in many ways. Although being thematically the opposite of Lynch's surreal nightmare, both film feel like they are conjured from the depths of the universe, rather then being invented stories.
Like Lynch, Anderson has spent most of his career trying to make a very, unique kind of movie, that nobody except them would be able to direct. Most of the time, they probably didnt even know themselves what kind of movie they were chasing. They were trying to capture a very specific moment of magic, and in Asteroid City' Anderson has finally succeeded capturing it. He probably won't ever catch that moment again.
The central encounter in this movie is like an allegory of the film itself: we, the people of this earth, expect the secrets of the universe to be something both grande and mysterious, but then it turns out to be quiet the opposite: oddly familiar and kinda funny.
This contrast: the odd, funny looking cast of character on one side, the unspeakable infinity of the universe on the other side, as well as the beauty that results from the contrast, is what makes 'Asteroid City' a one-of-a-kind movie.
It might hold the key to understanding life. Because maybe we are all just weird characters in an unnamed Wes Anderson movie, with no beginning or end, and maybe that's all there is to this universe.
The film centers on a Junior Stargazer/Space Cadet convention held in a fictional town called Asteroid City. When a group of quirky families, scientists, and military figures gather there, an unexpected occurence throws everything into chaos.
'Asteroid City' ressembles David Lynch's 'Mulholand Drive' in many ways. Although being thematically the opposite of Lynch's surreal nightmare, both film feel like they are conjured from the depths of the universe, rather then being invented stories.
Like Lynch, Anderson has spent most of his career trying to make a very, unique kind of movie, that nobody except them would be able to direct. Most of the time, they probably didnt even know themselves what kind of movie they were chasing. They were trying to capture a very specific moment of magic, and in Asteroid City' Anderson has finally succeeded capturing it. He probably won't ever catch that moment again.
The central encounter in this movie is like an allegory of the film itself: we, the people of this earth, expect the secrets of the universe to be something both grande and mysterious, but then it turns out to be quiet the opposite: oddly familiar and kinda funny.
This contrast: the odd, funny looking cast of character on one side, the unspeakable infinity of the universe on the other side, as well as the beauty that results from the contrast, is what makes 'Asteroid City' a one-of-a-kind movie.
It might hold the key to understanding life. Because maybe we are all just weird characters in an unnamed Wes Anderson movie, with no beginning or end, and maybe that's all there is to this universe.
Do not be fooled by the seemingly innocent premise of a cute cat movie. In many ways 'Flow' is the 2001, Kubrick intended to make. A movie of biblical dimensions seeking out the answer to the mystery of life. However instead of only asking the questions, 'Flow' also manages to find some answers. Its also more beautiful too look at and funnier.
The film was basically made by one man on his laptop, which isn't surprising, because in a time where movies are made by big companies on a drawing board, this one-man-project is the only way such an uncompromising masterpiece could come into existence.
The story of a cat's journey through a forsaken world, in the context of a biblical flood (similar to the one in Noah's Ark) will leave every viewer speechless. But not every viewer will realize, that they just witnessed a small miracle.
Disguised as a cute cat animation, this film doesn't need to hide itself from the greatest films ever made. Accompanied by visually mezmerizing images of a forsaken world, the story raises many questions, such as the value of life in the face of impending doom. When god's scorn washes over the earth, we might ask ourselves: what makes a life something worth existing?
The movie's ending is telling us: We might not always recognize ourselves, but that's okay as long as others recognize us with the face of kindness.
The film was basically made by one man on his laptop, which isn't surprising, because in a time where movies are made by big companies on a drawing board, this one-man-project is the only way such an uncompromising masterpiece could come into existence.
The story of a cat's journey through a forsaken world, in the context of a biblical flood (similar to the one in Noah's Ark) will leave every viewer speechless. But not every viewer will realize, that they just witnessed a small miracle.
Disguised as a cute cat animation, this film doesn't need to hide itself from the greatest films ever made. Accompanied by visually mezmerizing images of a forsaken world, the story raises many questions, such as the value of life in the face of impending doom. When god's scorn washes over the earth, we might ask ourselves: what makes a life something worth existing?
The movie's ending is telling us: We might not always recognize ourselves, but that's okay as long as others recognize us with the face of kindness.
The plot follows a young boy and his new family situation. During his inner struggles, a strangely behaving heron appears and opens a gate into a dream dimension. This dream dimension has its own laws and seems to reflect reality in a way the boy has never thought of.
Firstoff you can watch this film without knowing Miyazaki's work, but you will not be able to comprehend it, in it's entirety.
I have been a huge admirer of his work for many years, and his movies significantly influenced my life. As such I can tell that roughly speaking the film has three different meanings.
1. The relation between imagination/dreams and living:
The film is inspired by Miyazaki's favourite novel 'How do you live?' by Genzaburo Yoshino. Which is also the japanese title of the film. This might seem weird, because the film focuses on a boy's odysee into a fantasy world. What is meant by the title is, how non substantial things such as imaginary worlds and dreams should affect our lives. Miyazaki's answer is: a great deal.
The main character in the book is named Koperu, after Kopernikus, who's world view, that the earth circles around the sun, opposed the view from the rest of the world. And yet he was right.
Just because the world deemed something to be one way, doesn't mean it can't be something completely different.
Like budgies.
2. the relation between imagination/dreams and death:
The scenes with the floating souls, and phantom ships, highly suggest Miyazaki is saying, that our dreams are on a higher plane, then space and time, life and death, they connect people by laws of the heart, rather then the laws of physics. This theory is supported further by the character Himi.
3. Miyazaki's own way of biding farewell, to his work and his legacy:
As others have stated, it is crystal clear, that Miyzaki portraits himself in the tower master and his attempt to create, a better, more respectable world through his movies. But ultimately he has to recognize that his creations are destined to fall apart. However not everything has been in vain. The scenes where the tower collapses, have an uplifting, euphoric undertone, saying that only our dreams make life truely worth living.
This is Miyazaki's final message to us, his audience. The message is hidden in the story, and undertones. Why you might ask? Because if you don't understand the meaning in undertones, you will not understand, when it is spelled out either.
Thank you Miyazaki-san.
Firstoff you can watch this film without knowing Miyazaki's work, but you will not be able to comprehend it, in it's entirety.
I have been a huge admirer of his work for many years, and his movies significantly influenced my life. As such I can tell that roughly speaking the film has three different meanings.
1. The relation between imagination/dreams and living:
The film is inspired by Miyazaki's favourite novel 'How do you live?' by Genzaburo Yoshino. Which is also the japanese title of the film. This might seem weird, because the film focuses on a boy's odysee into a fantasy world. What is meant by the title is, how non substantial things such as imaginary worlds and dreams should affect our lives. Miyazaki's answer is: a great deal.
The main character in the book is named Koperu, after Kopernikus, who's world view, that the earth circles around the sun, opposed the view from the rest of the world. And yet he was right.
Just because the world deemed something to be one way, doesn't mean it can't be something completely different.
Like budgies.
2. the relation between imagination/dreams and death:
The scenes with the floating souls, and phantom ships, highly suggest Miyazaki is saying, that our dreams are on a higher plane, then space and time, life and death, they connect people by laws of the heart, rather then the laws of physics. This theory is supported further by the character Himi.
3. Miyazaki's own way of biding farewell, to his work and his legacy:
As others have stated, it is crystal clear, that Miyzaki portraits himself in the tower master and his attempt to create, a better, more respectable world through his movies. But ultimately he has to recognize that his creations are destined to fall apart. However not everything has been in vain. The scenes where the tower collapses, have an uplifting, euphoric undertone, saying that only our dreams make life truely worth living.
This is Miyazaki's final message to us, his audience. The message is hidden in the story, and undertones. Why you might ask? Because if you don't understand the meaning in undertones, you will not understand, when it is spelled out either.
Thank you Miyazaki-san.