殡之森

绿色，总是给人生机的意向。人们常说春天是绿色的，大自然是绿色的，就连过马路时的绿灯都好像在说：“快！前进吧！”。

殡之森

也许从电影的名字便可以看出电影与森林密切相关。“森”，指森林，苍松翠柏，生生不息；“殡”，意为死亡，消失殆尽，与世长辞。因此，电影本身就是在探讨生与死之间的关系。当然，此处值得一提的则是这里的死亡指的是一生挚爱的逝世。

影片回归田园，偏向日常。主要讲述真千子由于丧子之痛，去了奈良北部的乡间，成为养老院的服务人员。她所服务的对象正是已痛失爱妻33年的茂树。

从故事叙述的角度而言，电影开头相当隐晦，节奏缓慢。如果没有看简介，我相信是不知道电影在表达什么的。丧子与亡妻两个主要原因也是在电影的进展中才慢慢揭露，可能这就是导演的用意。不想在开头就给观众情节信息，只是拍摄大自然和生活的画面。

但是，在画面的拍摄上又体现了导演细腻的一面。但是，影片的中间部分，在森林中摸索的时候，画面暗到我觉得过于压抑了，可以看到的亮部所剩无几。

电影多处使用了长镜头。就长镜头本身而言，给人的感觉是空旷，悠远，好像画面会更添几分生命力。首先，在开头的一段长镜头里，送葬者的渺小与自然空旷的绿色形成了对比。

几个绿色的画面感受一下：

电影开头的送葬队伍

真千子与茂树

真千子与茂树

除了绿色的画面，电影让我们更接近自然的大概就是声音的处理。风吹过树林，脚踏过的丛林，鸟叫的声音，密切逼近的雨声，湍流的大水以及影片最后的音乐盒。

大自然的声音就是最好的配乐。

回归到电影本身的故事线上来说，茂树不顾一切冲进树林里，只为了寻找妻子。并且把这些年不间断写的日记本带给她，每一本都是厚重的思念，每一页都是深刻的哀思。在他心里，包的重要性远大于他自己。深情至此，我想没有真正爱过的人，大抵会怀疑是否有这个必要。

他虽然有些痴呆症状，但在诺大的森林里，却记得妻子“归宿”的方向。在日常生活中，仍旧回忆起与妻子跳舞、弹钢琴的画面。

同样是丧子的真千子，在走过水坑时，突然吓哭。只因有洪水的记忆涌上脑海。她的儿子仍旧活在她的心中，悲痛久久无法抹去。

茂树回头找真千子，说道：“我不知道怎么出去，前面没有路了，没有能让我们走出去的路……”

在滂沱大雨中，两个“迷途”的人互相依靠，互相救赎。

电影的最后，二人终于到达目的地。茂树取出包里的33本日记本，拿出一个音乐盒。在枝叶婆娑的森林中，真千子将音乐盒一边转动一边举向空中，就好像真子（茂树的妻子）也来听到了这美妙的声音一般……

《百年孤独》中有一段话：

"

父母是隔在我们和死亡之间的帘子。你和死亡好象隔着什么在看，没有什么感受，你的父母挡在你们中间，等到你的父母过世了，你才会直面这些东西，不然你看到的死亡是很抽象的，你不知道。亲戚，朋友，邻居，隔代，他们去世对你的压力不是那么直接，父母是隔在你和死亡之间的一道帘子，把你挡了一下，你最亲密的人会影响你的生死观。

"

除此之外，个人比较推荐河濑直美的另一部电影：

《橙沙之味》

<电影是生活里的诗，长按识别二维码关注吧>

版权归作者所有，任何形式转载请联系作者。 作者：法罗岛电影节（来自豆瓣） 来源：//movie.douban.com/review/12624462/ 我们敏熙： 如果说《沙罗双树》是人对nature rules的一次臻至化境的顺应，《殡之森》则是河濑直美孤注一掷式的把人狠狠往nature itself中挤压融合，幸好，她成功了。或许那夜之后，皆成了游魂？

想到看下雨之后那夜，闻到了死亡的气息，我想结局或许是他们都死了，后来一幕黑色，第二天来到，在森林里走，看到阳光的那里，此刻的光仿佛就是“希望”的实体。

木卫二影评：河濑直美冒险地弱化了冲突情节，强化了生命体验。

This is my second time watching Kawase’s The Mourning Forest. I have also watched Kawase’s newest film True Mothers through the virtual film festival. Pursuing simplicity and nature, the lighting in her film always takes a very significant place. When I watched this film for the first time, I paid more attention on the dimension of the characters’ behaviors and their relationship to the ceremonial activities such as funerals. I view the nature as a shifted space for the rituals. However, it is also interesting to consider nature as the character itself. My post will briefly analyze four parts of this film that express nature as a character, in other words, or a subject (in contrast to an object).

The essential play to transform nature as a character is manipulating the visibility and the invisibility. One central feature for the characters, or human beings, is the active dynamism. It is the initiative instead of the passive. However, when the initiator is invisible, the passively moving object could be viewed as the initiative itself. At the beginning of this film, under the wind, the grass and the trees are waving heavily. However, the force of wind is invisible. It creates the illusionistic perspective that the plants are waving actively by themselves. Meanwhile, the sound of the wind is analogical to the common white noise in the background. Its mundanity fails to specify itself as a power. Therefore, the nature acts by itself as a character.

Furthermore, the power of analogy functions in another scene as well. When Machiko and Shigeki are playing between the ribbings of the fields. The ups and downs of the ribbings form a clear pattern. Repeating and emphasizing this pattern in multiple shots, it becomes a powerful symbol. Its appearance clearly indicates the wrinkles of the elders, such as Shigeki’s face. This creates an interwoven relationship between nature’s texture and the character’s texture, blurring the boundary. The nature is also embraced with such characteristics.

In addition, the characters’ gestures and positions force the audiences to view the nature as another active subject. A communication needs to be completed by two participants in each end. During an organic communication, the relationship between the subject and the object is constantly changing. In the early dawn, when Shigeki wakes up, he already finds Machiko standing and gazing upwards to the forest. The feeble noises in the backgrounds activate this gaze into a communication with messages being transmitted. Therefore, instead of being a passive object of the gaze from the observer (Machiko), the nature becomes an active speaker, interacting with Machiko. The nature is then transformed to be the third main character in this film.

Developing the concept of invisibility and visibility further, the interaction between sound and image seems to make the nature to “roar.” Around 55:00, after Shigeki and Machiko enter the mountain, the weather turns worse. The thunders constantly explode the audiences’ mind, as surprising the characters as well. However, besides two people, there is no other creatures which could make such immerse sound. Without visible lightnings in the daytime being the source of the thunders, the origin of this sound could be attributed to the nature. It is the nature’s low roaring. Acting as a character with own personalities and language, the nature is activated through this device.

中间山洪冲下来的危机感，是交代她儿子的线索吧？她的崩溃中老人也能感受到她的悲痛。不需要询问缘由，只要片刻的庇护。相互交心后她们已然成为彼此信任的朋友。电影名是关于死亡。从电影里看到的是精神上的死亡。真子的死亡带来的是老人精神上的孤独。儿子的离世带来的是精神上的愧疚，丈夫的冷漠（人不行）更是精神上的悲哀。最应该安慰女主的人选择责怪她。其他的疼痛都超越不了她们的悲伤。但人的悲伤是断续的。除了悲伤之外还有许多的情感。缓解这些痛苦需要的还是精神上的支持。老人对执念的解脱。女主一个人承受失子的愧疚与无助在同样的场景下有人安慰、或是在帮助老人解脱的同时也是让自己解脱。控制不了便需要帮助。送她回家的那个女同事对她说的话也是帮助。