Where, where, God goes to the village—Japanese poetry and distance

Chinese youth films have been polluted by money worship and hormones to the point of being useless. To use a song from BEYOND’s later period, it’s “Teaching the Bad Guys”. Surrounded by commercial activities, heavy-taste events are needed to make everyone curious, moved, and then spend money to buy tickets. ——Secret love, together, interspersed with a few slightly erotic scenes, life-and-death passion, and then an earth-shattering breakup scene. If it is a domestic film, there will be an abortion. If it is a Korean film, one of them will be hit by a car or die. After suffering from leukemia, nothing was left, only a sad and confused interlude.

However, even in an island country whose first impression is indescribable, some youth movies are very bright. For example, this is a movie that does not follow common sense - "The God Goes to the Village". The Hong Kong translation of "Falling in Love with Spring Trees" is even more vivid.

This is a youth film with no abortion, no car accidents, no amnesia, and no N-angle love. What's the taste?

Yes, we are looking for ease, flow and greenery.

Bland, not even in love, isn’t that how most of us spend our youth?

After the college entrance examination, Hirano Courage finally ended his high school life. He failed to pass the exam and fell out of love at the same time. He suffered two lightning strikes at the beginning of his life. Seeing that his friends all had a bright future, He was the only one looking around blankly, at a loss.

However, a poster stuck out of chewing gum opened a window for him like God. This God was still a young and beautiful girl.

This husky-like young fool was attracted by the innocent beauties advertised for "green trainees". He happened to be heartbroken and felt that he needed an outside world to relieve his helplessness, so even the green trainees were He didn't understand anything, so he took a train that runs every six hours to high mountains and dense forests, and came to a forest farm that was infested with snakes and insects, inaccessible, but with beautiful scenery, "good mountains, good water, and loneliness."

Just when he thought he was about to become a colleague with an innocent and beautiful girl, the forest farm director pointed out the row of ant-like small letters on the poster: The picture is for reference only. Damn, what a world!

He was assigned to Shenqu Village. No one wants to go, only God is going!

Isolated from the world, the weather is sultry, the vulgar villagers, the overbearing master - Iida Yuki, the dead deer eaten as food, the snake soaked in wine, the buttocks bitten by mountain leeches... …The second-hand people from this city are not only tortured mercilessly by the environment, but are also rejected everywhere because of their lack of ability to cope with life and work.

The only reason that supported him to stay there was that he discovered a village girl, the girl on the poster, Naoki Ishii!

Hiraye Courage also slowly integrated into and identified with the identity of a lumberjack. He cut down the first tree in his life, hummed the lumberjack song unconsciously, and ate lunch with Naoki by the stream. From a good-for-nothing to a man who can stand alone. Got the qualification to participate in the mountain god sacrifice.

This sacrifice is also the climax of the film.

The men finished bathing, put on their loincloths, and hiked to the top of the mountain. The menacing atmosphere, the solemn sense of awe and ritual, became the most moving part of this movie.

Landscape and folklore. Japanese women seem to always be shy and reserved. There is a sex worship festival at the end of the film, but men, women and children of all ages join in the battle. It is a pure and natural admiration for the organ that creates life, especially when the male protagonist rides a huge wooden penis. The mountain rushed straight down and violently hit the vagina made of hay. Amidst cheers, all the women rushed up crazily, stroking their manhood and begging for good luck.

However, Hirano Yu's internship period ended. On the train back to the city, he saw the banner held by Naoki Ishii: Gaara Courage!

Will he stay?

The director's ability to tell stories quietly and naturally is admirable.

The film seems indifferent, but it makes people follow it closely. The audience always expects or fears that something unexpected will happen at the end, such as falling from a tree or fighting a wild beast in a dense forest. However, the accident was far from happening. The whole play was always walking in the beautiful mountains and forests with smiles.

The sound of the wind blowing through the woods, the simple and hearty laughter of the villagers, the occasional sound of the friction between the chainsaw and the wood, and the sound of the water lapping against the rocks on the river bank all mingled together. In your ears, you are immersed in the magic of nature.

The primitive region, simple folk customs, and shooting techniques that use almost no CG technology make the film natural and unique, which invisibly shortens the distance with the audience and makes people feel more intimate. In the film, whether the protagonist climbs up a precarious 100-foot tree to look at the mountains, or the crazy and bold ceremony at the end, all were shot in real scenes. Although it has a retro look, it conveys vigorous vitality.

The emotional story that took place in this natural environment, and the sensitive but shy interactions between the male and female protagonists, are presented in a few small clips, which are beautiful, delicate and innocent, just like Hayao Miyazaki's Comics in general. Courage's admiration for Naoki's emotions are subtle and subtle, not ostentatious or noisy. Keep it hidden with the heart, and show it slightly with the outside. But even such a light emotion has a softer power. Sometimes, expressing love too passionately can be counterproductive and discouraging. Such a weak love has the charm of spring breeze and sake, slowly infecting the heart.

In the film, there is also an impressive hidden thread, which is the reverence of the villagers for the gods of the mountains and trees. They have devout faith and a sacred reverence for nature. When loggers drive into the mountains, they clasp their palms together and pray to the mountain gods for their future. They believe that forestry, clear springs, and the animals in the forest are all gifts from nature. Only when you are in awe can you feel grateful and know how to cherish. In today's society, where natural resources are increasingly scarce and pollution is becoming increasingly serious, everyone should have this kind of awe.

Seeing the piety of mankind and the feedback of nature are also reflected in the harvest of felling trees in the film. Balance and respect are always reflected in the attitude of the film. Relaxed and touching yet full of Zen, it conveys profound emotions with ease.

The film "God Goes to the Village" is not to express the life or spiritual contradiction between nature and city, but to give us a new choice - the return of tradition. Perhaps, from this movie, we can not only feel youth and love, but also feel the poetry and distance of the Japanese.