In my opinion, Rikako’s only purpose in the film is to help develop the male characters, which is a little further down than I believe she should be. They have seen their version of the same confession about a few hours ago. When Taku and Yutaka have a casual conversation with another classmate, they both look at each other with the same understanding. When a boy and girl admit they like each other in class, they hear a cheer. When a person close to you learns they are gay, Yutaka reacts with shock and rage. If he gets another chance to bail her out and she refuses, it indicates how far he has come in his opinion of her. ![]() Throughout the first half of their relationship, Taku was solely responsible for getting Rikako out of situations. Things like this occur throughout his Tokyo trip, causing him to develop cracks in his mental image of her. Taku, as a result, notices their habit of wearing a mask or playing a number and then abruptly turning 180 degrees. ![]() When I say this, I don’t mean that two characters are secretly in love and fight all the time. The film makes it clear that they are unable to coexist. It’s about him coming to terms with his feelings for Yutaka because those feelings are the foundation of all of his relationships. As I look at it more closely, I can see that it has been burned into the film. My 20-page treatment for a screenplay, titled Yuri, will be completed in the coming years. Right, so I’m in the middle of developing a re-telling of the film. In this section, I’ll break down each scene into its entirety and give you a breakdown by beat. I watch the film a second time a few days later and take a lot of notes. Until I’m completely immersed in a film, I assume that I don’t like it. It also contains a number of subtle moments throughout the film, such as when he is confused because Rikako did something and Yutakas shows up a few moments later. Instead of being a creep, Yutaka takes a closer look at his friend, Rikako, when he spies on him in the first. This sentence ends with a beautiful line: “You told me to come.” Taku is the only boy in the film who shows no interest in the girls. This is the first step in their friendship, and it lays out everything that we need to know. Their friendship can be seen clearly in the last act of the film. In the beginning of the film, it is clear that Yutaka truly appreciates Taku. He later discovers that she purchased a plane ticket to Tokyo with her best friend without telling him, and that she arranged to meet her father on the flight. She borrows money from Taku on the basis of losing her travel money, saying little more than two words for the rest of her life. The majority of the film’s events are told in flashback as he reminisces about his past. The story’s framing device is the return of a Taku from a high school reunion in Kochi, using an older Taku as a frame. ![]() Studio Ghibli’s closest attempt to make a B-Tier film was released in 1993, as the Japanese company released its deepest film. Ultimately, Lee argues that Ocean Waves is a film that deserves to be celebrated for its queer sensibility. The film’s use of color and light also contribute to its queer aesthetic. Lee argues that the film’s focus on friendship and love between two young men challenges normative ideas about masculine and feminine roles. In “Is Ocean Waves a Queer Film?,” Christopher Lee examines the ways in which the film subverts traditional ideas about gender and sexuality.
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