Pick up from the previous issue.
In the love story that also tells the story of teenage children, Makoto Shinkai's work must have a place. All the protagonists in his works are about fifteen or sixteen years old, some of them are high school students, and some of them are children without a family. Makoto Shinkai's film style is more dreamy, and there is always some halo in the color, creating a love like colorful bubbles reflected in the sun. is not only the fantasy of the color, but also the fantasy of things, maybe the male and female protagonists in "Your Name" who can travel through time and space, maybe the sunny girl in "The Weather Child", or the person from another world in "The Child Who Chased the Stars", or the story of chasing the aliens who invaded Mars in "The Voice of the Stars", and the memories of the green age in "Five Centimeters per Second". Perhaps Makoto Shinkai himself has a lot of memories of the stories of his own time, which is why he is so obsessed with writing stories about his youth. But among all his works, there is no better than "Your Name" released in 2016, which is almost the culmination of Makoto Shinkai, and even if "Weather Child" is released again in 2019, it will not be able to catch up. In addition, Makoto Shinkai's other works are roughly the same in form and storytelling, which seems a bit monotonous and boring.
Makoto Shinkai's main works"Voice of the Stars" 2002
The Other Side of the Clouds, The Promised Place, 2004
5 centimeters per second, 2007
Children Chasing the Stars, 2011
The Garden of Words, 2013
Your Name, 2016
Weather Child 2019
Speaking of dreams, if Makoto Shinkai creates a kind of dream country, and Jin Min's dreams are an excessive zone that is completely confused with reality.
I don't think there is any dream movie like Kim Min's work, and even Nolan's "Inception" was inspired by "Red Hot Chili Peppers". Once when I watched Jin Min's movies, I always wanted to distinguish when it was in a dream and when it was in reality, and even when writing a movie commentary, I played it back several times in one place, just so that I could distinguish the boundary between reality and dream in the commentary, but I don't think it was necessary for Jin Min's movies at all, maybe Jin Min himself didn't plan to let us distinguish between the virtual and the real in his movie, even in our real life, can we really distinguish between the virtual and the real? So why bother with the dispute between fiction and reality. is like the baseball boy in "Delusional ** Man", is he real, or is he a reflection derived from our nightmare? Unlike Miyazaki's childlike saturated colors and Makoto Shinkai's dreamy colors, the colors in his works appear more stable and even darker, and Kim Min brings the creative experience and editing skills of live-action films to the animation, which are perfectly used in the two works of "The House of the Mima" and "The Millennium Actress".
The flashback at the beginning of "The House of the Horse", the clever editing and switching of the camera without any sense of disobedience, and the integration of life and real life in the play of the game, tell us that life is just a movie.
Millennium Actress", through Chiyoko's narration of her screen career, she led two people who came to visit her as a character in her memories, and experienced the love stories of Japan's Warring States, Shogunate, Taisho and Showa four different periods together. Originally, there was another "Dream Machine" that was about to be born, but a generation of ghosts died young, so the work was stranded, hoping to have the opportunity to be released, otherwise I could only lie on my Douban "want to watch" list indefinitely.
Jin Min's main work, "The House of the Unhemp", 1997
Millennium Actress 2001
Tokyo Godfathers, 2003
Delusional ** Man, 2004
Red Hot Chili Peppers, 2006
Dream Machine is unknown.