I just want to tell you, I'm the one who was supposed to take care of everything. I'm the one who was supposed to make everything okay for everybody. It just didn't work out like that. And I left. I left you... And now, I'm an old broken down piece of meat... and I'm alone. And I deserve to be all alone. I just don't want you to hate me.
Such a heart-breaking film that beautifully crafts many aspects that follow one's life - loyalty, friendship, tenacity, perserverance, and above all absurd obsessiveness to one's raison d'être. I understand that many details and sequences in this film are deliberately manipulative to bring the tears out of the audience. But at the same time, the film still feels very sincere, thanks to a very well-paced script that seems to be very repetitive (as in "endless journey") but actually very diverse and carefully thought-out in settings, characters, and details, as well as excellent performance by the "3rd squad" cast, especially the leading Cheng Bing (played by Zhang Yi). A rare memorable film of this genre that I love very much.
02. The Fantastic Four: First Steps (2025): 3/5
A much better film that I thought it was. Still with a very weak Marvel-style supervillain, the nonexistence of "stakes" (those who die will resurrect), but the idiosyncratic settings and quite decent performance by the fantastic four and the Silver Surfer are enough to bring this film out of mediocricity. Could be better, of course, but this film is no disaster as many other Marvel films in recent years.
03. Are You Lonesome Tonight? (2021): 3.5/5
This arthouse neo-noir action film is quite heavy and dragging at parts, but is nonetheless entertaining, well put together (despite its non-linear storytelling), and well acted, especially thanks to another memorable performance by Sylvia Chang - one of my favourite Asian actresses ever, who, despite her quite advanced age, still steals every single scene she is on thanks to her graceful beauty, elegance, and unmatched sensibility that I have loved since watching "Eat Drink Man Woman".
04. The Shadow's Edge (2025): 2/5
How in the world could this hectic and pretentious film receive so many praises and even awards (!) for its mediocre quality? This film feels like a abomination of a combination between the equally pretentious "New Police Story", that also featured a young cast of unlikeable characters but still at least capable to act instead of being moody and forgettable like those in this film, and the much more competent "Eye in the Sky". Even the ever-dependable Tony Leung Ka-fai is not enough to save this film (Jackie Chan has never been an actor with depth, but the action part - once mighty enough to cover any weaknesses in his performance now already faded away as he already enters the 70-year mark) - and yet somehow still won the Best Actor Award from HKFA. Am I too strict with my review or does the Hong Kong film industry already passed the point-of-no-return to mediocricity?
So long, Mr. Hackman. You will forever be missed. I feel very grateful for being able to finish watching this masterpiece The Conversation, and The French Connection, and Unforgiven, and others.
I know that you had been grumpy about life for quite a while now, but did not think that you (or your wife? - it is still too soon to know, or we might even never know) would choose such a brutal end for you, your wife, and your dog. Still, I hope you would enjoy your afterlife alongside your dearest. I am afraid now that the end of my forever favourite Jack Nicholson would be soon as well. What can we do but cherish the last moments of these greats and more importantly enjoy their films until our own ends.
This is a very heart-warming film about Satoshi Kon - a must for anyone who is a fan of Kon's works - like myself. There is nothing new or extraordinary about this film, just a simple, straightforward story about one of the greatest, and certainly the most original storyteller and animator from Japan. The clear structure, simple explanation of the themes and Kon's storytelling style throughout his short but diverse and illustrious career in this film make it a perfect introduction as well for anyone who has interest in Kon's films, or simply is curious on why this guy, who already passed away 14 years ago, directed "only" 4 full-length features, and received no Japan Academy Film Prize for Animation of the Year at all, is still held at very, very high regards by his contemporary and animation aficionados alike, including those more "awarded" like Mamoru Hosoda. For me, though, this film is simply an emotional recall to the pass, and a lovely reminder that I still cherish the memories and above all the various feelings watching Kon's films. I cannot wait for my son to be grown up enough so that I can introduce him to this very different, yet very "real" and memorable side of Japanese animation - Satoshi Kon.
Thông thường tôi sẽ bình phim ngắn bằng tiếng Anh nhưng do phim này tôi xem với phụ đề tiếng Việt (thực sự cảm ơn các bạn nào đã làm bộ phụ đề tiếng Việt cho phim này quá xuất sắc) và nó gắn nhiều với tuổi thơ sách vở (tiếng Việt) của tôi nên tôi sẽ bình phim này bằng tiếng Việt. Trước hết có thể nói luôn là về chất lượng nghệ thuật phim này không xứng đáng 4 điểm, cùng lắm là 3.5 hoặc thậm chí là 3 điểm vì cách tạo hình nhân vật 3D trong phim này là không có gì mới, lộ rõ ảnh hưởng rất lớn (nếu không nói là sao chép) phong cách làm phim 3D của Hollywood (Pixar hoặc DreamWorks) và thậm chí là phần chi tiết nét mặt còn thiếu tinh tế hơn - điểm yếu này của phim đặc biệt lộ rõ trong những phân cảnh cuối khi Lý Bạch và Cao Thích đã về già. Đây là điều đáng tiếc vì phim có rất, rất nhiều nhân vật lịch sử, đặc biệt là các nhà thơ thời Nhà Đường, và hiếm khi khán giả có cơ hội được chứng kiến nhiều nhân vật như vậy cùng đứng chung một khung hình - vì phim lịch sử Trung Quốc thường chỉ tập trung vào chiến trận, triều đình, vì thế Dương Quý Phi, Đường Minh Hoàng, An Lộc Sơn, Quách Tử Nghi mới là những nhân vật thường được nhắc đến, và những nhà thơ như Lý Bạch, Đỗ Phủ, Vương Duy thường chỉ được sử dụng làm "nền" - hơn nữa phim lịch sử Trung Quốc về giai đoạn Hán - Đường thường tuân thủ rất triệt để theo ghi chép lịch sử và thường không "dám" tạo ra các cảnh "giả sử" để các nhân vật lịch sử có thật được ở cạnh nhau, tương tác với nhau (ngay đến phim "xuyên không" giờ cũng đã không còn được khuyến khích ở Trung Quốc, đừng nói là phim "giả sử"). Dù đây là phim lịch sử, lấy bối cảnh là các thành phố và quang cảnh nổi tiếng của Trung Quốc thời nhà Đường nhưng cách xây dựng và chất lượng nghệ thuật của các bối cảnh này dù đẹp, hoành tráng (đặc biệt với những cảnh tự nhiên rộng lớn như Động Đình hồ) cũng không thực sự mới mẻ, gây ấn tượng sâu sắc và vẫn có chút hơi hướng gì đó của phim hoạt hình 3D Hollywood. Đây là điểm theo tôi là khá đáng tiếng vì Trung Quốc có kho sử liệu và tranh vẽ đồ sộ từ thời nhà Hán, nhà Đường, nhà Tống vẫn còn tồn tại đến tận ngày nay - nếu các nhà làm phim tận dụng hơn các mô-típ của tranh thủy mặc thời Tống hay tượng đất nung thời Đường thì phần "nhìn" của phim trông sẽ đặc sắc hơn rất nhiều (ví dụ cách dựng hình ngựa trong phim là đẹp, sinh động, và khác biệt hơn hẳn so với phim Hollywood - lý do đơn giản vì chúng được lấy theo đúng mẫu các bức tượng ngựa thời nhà Đường - ai đã từng thấy các bức tượng này ở bảo tàng, triển lãm sẽ nhận ra ngay những con ngựa mà Cao Thích hay Lý Bạch cưỡi có ngoại hình giống hệt. Về mặt tiết tấu, phim có tiết tấu khá chậm, khiến khán giả đôi lúc sẽ có cảm giác phim "quá dài" - nhất là những phân đoạn đối thoại giữa Cao Thích và Trình giám quân - tất nhiên độ dài 168 phút của phim thực sự là "rất dài" cho một phim hoạt hình, nhưng vì kể câu chuyện trải dài suốt nhiều thập niên về giai đoạn Nhà Đường từ đỉnh cao rơi xuống vực sâu, nên độ dài này là cần thiết, nhưng rõ ràng các nhà làm phim có thể điều chỉnh tiết tấu để phim nhanh hơn, lôi cuốn hơn với nhiều trường đoạn tương tác giữa Lý Bạch và Cao Thích, và các nhân vật khác hơn. Cái kết hơi mang tính "dân tộc chủ nghĩa" (phong cách thời thượng của phim Trung Quốc thời điểm hiện tại) cũng làm mất đi phần nào giá trị của phim - một tác phẩm vốn nói về sự tương phản giữa một Lý Bạch phóng khoáng, sống hết mình, với một Cao Thích luôn tự cầm chân mình trong các giới hạn của đạo lý, luân thường trong bối cảnh xã hội tao loạn - chứ không phải là một tác phẩm nói về đề tài "chống ngoại xâm", "diệt Thổ cầm Hồ" thời Nhà Đường. Cũng phải nói thêm là nút thắt mở dẫn đến phần kết này khá thú vị khi nó giúp phim tạo được sự khác biệt đáng kể so với "Amadeus" của Miloš Forman - vốn có phần kịch bản đầu gần như tương đồng so với "Trường An tam vạn lý" - cũng nói về tình bạn/đối thủ giữa một thiên tài phóng khoáng (nhưng vì thế mà thất bại trong đường sự nghiệp) với một nghệ sĩ kém tài hơn nhưng luôn chịu khó cúi đầu đi về phía trước để cuối cùng trở thành người "sống sót"/thành công hơn để kể lại câu chuyện của cả hai.
Chê thì chê, nhưng tôi vẫn chấm phim này 4 điểm, vì xem phim này tôi thực sự xúc động khi thấy các nhà làm phim đã chuyển hóa được các bài thơ Đường (chủ yếu là của Lý Bạch) thành ngôn ngữ hình ảnh, âm thanh của điện ảnh. Đây là những bài thơ tôi đã đọc, và thích từ ngày còn bé, nhưng quả thực chưa bao giờ tưởng tượng và liên hệ những bài thơ đó một cách toàn diện, nhiều tầng ý nghĩa, nhiều tầng cảm xúc như ở bộ phim này. "Tĩnh dạ tư", "Tương tiến tửu", "Tảo phát Bạch Đế thành" là những đỉnh cao trong sự nghiệp thơ ca của Lý Bạch, và những phân đoạn về các bài thơ này trong phim cũng là những điểm nhấn đẹp đẽ, đáng nhớ vô cùng. Vì thế nên xem phim này tôi vừa thấy cảm động, nhớ lại cái tuổi niên thiếu của chính mình ngồi ngâm nga những bài thơ Đường ở cái thời còn chưa thể ngấm được hoàn toàn những tâm sự, suy tư của Lý Bạch khi làm những bài thơ này, hay cái mới, cái đột phá mà Lý Bạch đem đến cho thơ của ông, và tôi cũng thấy có phần "ghen tị" khi chẳng biết đến bao giờ Việt Nam mới có được những bộ phim hoạt hình lịch sử xuất sắc đến thế này.
I have been so caught up by life that even though Takahata has always been one of my favourite directors, I was not aware of this heartfelt eulogy for him by Hayao Miyazaki during his funeral in 2018. I love them both, in fact, just as many fans of Japanese animation, but whereas Miyazaki has always been the "Anime God", especially among Western fans, Takahata's subdued and seemingly more traditional style has been appreciated, in my opinion, not as much as Miyazaki's more bombastic and "Westernized" masterpieces. I love every single films by Takahata and am always able to find solace, relatability, and calmness in his films - something that is a little more difficult to find in Miyazaki's, except for those more personal to him like "The Wind Rises" or "Totoro" (this is not a criticism of Miyazaki's everlasting masterpieces, I also love them all, but they are just of different flavour than Takahata's).
Back to the eulogy. I love this one so much since it really is a demonstration of not only the love and respect that Miyazaki has always reserved for Takahata (even until now I am sure), but is also a symbol of their support and care for each other - the very important ingredients that led to the everlasting values of their works, and something that was beautifully portrayed in the lovely documentary "The Kingdom of Dreams and Madness". The relationship between Miyazaki and Takahata, as narrated by this eulogy, really is an emotional and uplifting story that I want to keep for myself on the windy road ahead.
Also, many thanks to the original posters, since without them, I would have never been aware of this eulogy.
Not sure why he was nicknamed "Paku-san" really but he was not a morning person. As we started working for Toei Animation, he always came to our office almost late. (In the morning people saw) he often gobble some bread after putting his time card (into a punch machine ) and drink water directly from the tap. The sound he made by eating the bread which is in a Japanese onomatopoeia "paku paku" is rumored to be the reason of his nickname.
It is not an (official) memorial message but today I will read what I wrote.
I thought "the" Paku-san would live until 95 years old. "That" Paku-san passed away. This made me feel that I have not much time left.
9 years ago our medical doctor called me and told me "if you are his friend, you must tell Mr. Takahata to stop smoking.". His voice was serious and even scary. Because the doctor was so serious I and Mr. Suzuki (Studio Ghibli producer Toshio Suzuki ) got him to sit together over a table. It was the first time that I talked to him in that serious manner. "Please stop smoking, Paku-san", said I. "To continue your job, please stop (smoking)", said Mr. Suzuki. I expected him to come up with numerous excuses and counter arguments but he simply said "thank you and I will stop smoking." and nodded. And Paku-san really quit cigarette. I deliberately smoked near him (to test his determination). He said "Nice smell but I do not feel like smoking at all". He got me! That convinced me even more that he was destined to live till 95 years old.
In 1963 when Paku-san was 27 years old and I, 22, we met for the first time. I still remember very well the day we talked for the first time. In dusk at a bus stop I was waiting for my bus to Nerima. There came a young man walking towards me on the road still partially wet after the rain. "I heard that you are gonna visit Mr. Takuo Segawa." said he. He looked gentle and smart. That was the moment I met Isao Takahata later as known as Paku-san. I wonder why I can remember so clearly; even it was 55 years ago, the memory (of that day) is still vivid. I can still see his face as he was at that time.
I met Paku-san again after I was pushed to be an executive member of the labor's union of Toei Animation. Paku-san was the vice chairman ( of that union). Under the pressure, my hard days started. I wanted to almost throw up under that heavy pressure. Despite of that (hardship), I slept over in the labor's union office (which was a kinda shack). And I and Paku-san talked a lot as if there would be no tomorrow... on so many kind of things, esp on our jobs.
We were not satisfied with our jobs (that time). We wanted to do a job further from and deeper than what we were doing then and something we could be proud of. (We talked about) what we should create. Paku-san's knowledge was so great and broad. I felt so happy that I could meet a wonderful person like him.
The production ( of " The Great Adventure of Horus, Prince of the Sun " as Takahata worked as its screen writer) did not proceed well. The staff were not familiar with (Takahata's) new style. The work progress was so slow that the project became an headache to the entire company. Paku-san was an incredible persistent guy. Even as the company's top management tried to change his direction with, sometimes, threats and, sometimes, begging, he did not change. I just by myself worked over weekends with no AC in the summer drawing the sketches for the background pictures on the big sheets of paper. The agreement with the labor's union did not allow the work on weekends but I did not care. It was so simple. I just did not punch the time card for the weekend work.
After I watched the first version (test view of the Great Adventure of Horus) I could not move. It was not that I was moved but I was totally taken by the surprise. I was aware of the dispute over the scene of "Mayoi no Mori /the Enchanted forest" as to if it should have been edited out or not. Paku-san negotiated with the company board patiently and he had no choice but had to agree on the number of the animation slide and the number of the work day to the deadline. Of course, he could not keep the agreement. More slides and more days cost. Every time he broke the agreement, he had to write the apologetic letter (to the company). I wonder how many (apologetic) letters he had to write. I was also fully tied up with my own job and I could not help him in that tough fight.
I watched the scene with Hilda in the Enchanted forest at the first version test view. The overwhelming expression and the pictures! And so much love! I came to understand for the first time that this was what Paku-san wanted to create. He completed the work. (Then ) it was in year 2000, 30 years after the release (of that film), that Paku-san suggested having a gathering inviting the film people. From the person in charge (of the Great Adventure of Horus), the board members, the managers who were pressed between the people on the work field and the company top members in that company (Toei Animation), production manager, illustration staff, the females who worked on the background and colouring to the staff in film-shooting, recording and editing, so many people came. The film was not financially successful but nobody cared about it any longer.
Paku-san, we lived so fully that time. The way Paku-san lived was exactly how we lived. Thank you, Paku-san. I will never forget about you, Paku-san, who talked to me at the bus stop after the rain.
I know that this film has been considered "overrated" by many, especially since it was inexplicably selected to represent France at the 96th Oscars instead of "Anatomie d'une chute", which is among if not the best wide-released cinematic works of the Western world in 2023. To me "Anatomie d'une chute" is indeed better-rounded and more memorable, but "La passion de Dodin Bouffant" has its own merit. Of course, just like numerous other films by Trần Anh Hùng, the performance in this film is not really the focal point, neither its strong aspect (despite the absence of Trần Nữ Yên Khê - Trần Anh Hùng's eternal muse [he did dedicate this film to his wife] but, again, in my opinion only, not really an outstanding actress), but the humanist interactions between the characters are extremely effective and moved me a lot, a lot. I love the fact that this film does not only appear peaceful and cozy, but is indeed a peaceful and cozy film, where everyone is kind and good to each other without any hint of bitterness, jealousy, or pessimism. Watching this film thus really warmed my heart seeing how people of different tastes, different social standings, different ages, and even different world view could be so caring, so subtle, so dedicated to the ones they love and the one they care about - the same way a visionary "gourmand" like Dodin and an outstanding chef/cuisinière like Eugénie take care of their food. Naturally this is a film about food, and about how passion and dedication transform a simple dish into a unforgettable dish, and a good dish into a "tear-jerking" dish. But this is also a film about camaraderie, about soulmates, about the many aspects of interactions and harmony between two hearts that share the same beating frequency in Dodin and Eugénie that are way more than thus "love" and professional harmony. I especially love the very final scene of this film, where Dodin affirmed to Eugénie that she's not his "femme" (his wife, or simply his "woman") but rather his "cuisinière" - a role encompassing BOTH aspects of Dodin's life - his private one, and his "professional" one, and also a role of more equal footing with Dodin in all aspects. Talking about language, I really, really like the French Trần Anh Hùng used for this film's script, as it makes the film so much better, so much more moving, so much more emotional and thus memorable from beginning to end (an important point since the film's pacing is rather slow while the length is not really encouraging for those who prefer shorter and more entertaining films). On this note, I find it pretty funny that Dodin and Eugénie agreed that Dodin is anyone but a poet, but by the end, Dodin's thought and lines just become more and more poetic and romantic like a true poet. Just like the other works of Trần Anh Hùng, this film also has magnificent lighting and scene composition (both indoor and outdoor) to the point that you can cut any single random frame in this film and it would instantly look like a painting with no need for forcing the director's view on to the audience. Sure, this film might be a little bit slow, a little bit long, a little bit dry to some, but once you pay it some attention, you will quickly become emotional observing such a beautiful relationship between Dodin and Eugénie. Such a wonderful film, I would easily give this one a 4.5.
This film is so good on so many levels that not only I enjoyed watching it very much but it also made me think about things - a hard task these days given the fact that I already have a full hand of things that I have to think about everyday.
Firstly, as a legal drama, or more correctly, a courtroom drama, this film is just a perfect one from start to finish with a very subdued (and thus realistic) tempo except for a few moments of emotional peaks during the examination sessions very typical of a realistic court case (the larger part of this film is dedicated to the actual procedures in front of the judge and jury, and only a small part on the preparation and aftermath, so it is rather a courtroom drama - like 12 Angry Men instead of a legal one - like Primal Fear, in my opinion). This "faithfulness" of this film vis-à-vis a French court process is actually very important and meaningful to me, since I have been a big fan of the "true crime" genre in recent years and just fascinated by and paid great attention to good true crime films. But as its name implies, most good true crime films just focus on "the crime" and not on the court process, which might be to the filmmakers already a "done deal" despite the fact that in reality court process, the prosecutors' and defense lawyers' talent (or lack thereof), and defendant's and witnesses' "performance" ARE the decisive factor that leads to a conviction (or not), and NOT the facts/evidences gathered/left behind by the investigators/culprits. And this film is a very, very rare example of a magnificent courtroom drama (I discount My Cousin Vinny, which is too humorous for its own good and too exaggerated for a realistic courtroom drama) even until its very end, when the audience, just like the (almost) blind young witness, have to follow the court events one at a time, unsure what is the truth, what is the fiction, who is right, who is wrong, even after the final verdict was already given by the court. This ambiguity of the script is extremely tasteful, as it gives the film a necessary dose of tension to compensate for its lack of action sequences or crime depictions, the audience a doubtful impression about the characters, about the court process, about the whole thing, and surprisingly enough some comfort, doubtful it is though, thanks to the very final scene with the lovely dog Snoop (acted amazingly by "Messi" - he should have given an acting nomination for this film, how could he, a dog, "act" perfectly like that I have no idea).
Secondly, this film has a masterful treatment of the relationship between languages and emotions and loneliness. Thanks to a wonderful performance by Sandra Hüller (I pray to God that she would win the golden statue this year at the Oscar, but she simply has no chance given the political correctness attitude of Hollywood these days, which will 110% give the award to Lily Gladstone due to her native American origin), the audience, especially ones with a sufficient understanding of English, French, and German like me, really feel the emotional "switch" when her character Sandra Voyter had to change from French to English to express herself fully in front of the judge and jury, or when she uttered some rare German words ("Ja"/Yes) when being pushed to the extreme emotionally. Voyter's utter loneliness is also palpable to the audience when they observe the French around her can do some "chit chat" in simple French with her but would switch to fully "high-brown" sophisticated French at court, which not only confused Voyter but also forced her (again) to the realization that she is no one but a stranger in this snowy French town. I feel Voyter's desolation a lot, since I can also speak French comfortably enough but have never been able to become "good enough" to not stand among French people as a stranger from a strange land due to the language barrier. The switching back and forth between French and English in this film naturally reminds me of Inglourious Basterds - a marvellous film in my opinion successful in making the different languages, and language differences become another "character" of the film.
Thirdly, this film is a very thought-provoking piece of philosophical cinema on the subject of prejudice, misogyny and the definition of success, roles, and responsibilities in a modern society. In the era of "Me Too" and LGBT-and-many-more, one might think that prejudice and misogyny is just a "simple" theme that can be tackled with various approaches. But to make such an approach engaging, relatable, and not "preachy" is not at all an easy task. Rather, people have to dig deeper into the subconsciousness to find the commonality in terms of "inherent" misogyny and prejudice between people of different backgrounds, different culture, different countries. And this film just did it perfectly. Not only it shows an obvious misogynistic hostility of the prosecutorial side against women like Voyter, but also gives the audience seveval "awakening" moments about their own prejudices, like when Voyter had to beg the prosecutor and others to remember that her blind son IS enjoying his BEST life instead of SUFFERING from his visual impairment - something he could not change and does not have to change to make his life "better" (in the eyes of other "normal people" with full visual capability). There are many small but meaningful moments and dialogues like that sprinkled throughout the film that make this film an even better watching experience than it already is.
This film is so emotional, so impactful, and so well-made that I really, really hope that it can win the Oscar for Best Picture this year, but obviously Hollywood already made its choice with the bombastic and showy Oppenheimer. I can only wish that Justine Triet will be able to at least win a "consolation" statue in either the Best Director or Best Original Screenplay categories.
