Snake of june's behind-the-scenes tidbits

Asuka Kurosawa's wife, Linko Tatsumi, Obuchi's husband, Shigehiko, and director Shinya Tsukamoto's photographer, Iguchi. My wife and husband are both typical Japanese office workers. My wife Rinko works in the psychological counseling room of a hospital, and my husband is a workaholic and a neat freak. Their life seems dull, but in fact it is full of crises. One day, Rinko received an anonymous letter that read "Your husband's secret", but when she curiously opened the envelope, she was surprised to find that it was full of photos of herself masturbating. Her life is being watched! Later, Lin Ke began to receive a phone call from a strange man, claiming that he had been helped by Lin Ke and got rid of the dilemma of trying to commit suicide. He didn't blackmail Lin Ke. His only request is to let Lin Ke do what she wants. This bizarre request made Lin Ke "call the police". But in the end, Rinko gave up. The mysterious man asked Rinko to take off her underwear, put on a very short mini-skirt, went to an adult goods store to buy the largest female masturbator, and then instructed her to shuttle through the city step by step. If you press the "stop" button at this time and think that this movie is a perverted movie that takes a peek at women's lives as pleasure, it is all wet. In fact, photographer Iguchi is a cancer patient, and he judged that the heroine Linko Tatsumi has cancer like him. The basis of the indifferent relationship between Rinko and Shigehiko is that they can't express and communicate their desires, but the instinct of the body has become the call of powerful life and shocked them. Photographer Iguchi used her own method to make Linke rediscover herself and regain her confidence in life, and the disharmony between her and her husband was resolved at the end of the film, which finally forced them to re-recognize and build their marriage. It can be said that the film begins with transformation and ends with touching. In this film, which is only 77 minutes long, Shinya Tsukamoto uses many erotic images to show Lin Ke's gradually restored sexual desire and physical pleasure, but he is by no means providing the audience with sensory pleasure and stimulation. What they present is actually the psychological loneliness of urbanites, even the mutant mentality (in my opinion, it refers more to Japanese urbanites). As a photographer, Shinya Tsukamoto turned the audience's attention from the hero's sexual desire to their spiritual needs. Instead of deliberately exaggerating pornography and perverts, he used these elements to string together the whole movie. This is the genius of this film.

Like Shinya Tsukamoto's other works, Shinya Tsukamoto is still a writer, director, producer, actor, photographer and editor. He is a typical author film with a very stylized brand. The film "snake of june" is set in a rainy season, and it can be judged from the dialogue that June is the rainy season in Japan. Therefore, rain, an important symbol in the movie, runs through the whole movie. In addition, the cover of the sewer and snails also appear repeatedly in the film. These symbols have a strong symbolic meaning, suggesting that in the cold and alienated society, the life of the Japanese middle class is monotonous, boring and lacking in change. Director Shinya Tsukamoto may have deliberately used a blue filter when shooting, and the whole movie was immersed in blue melancholy. I can't see any other color except blue. This setting makes the cool style of the whole movie obvious. Chu Ishikawa, who is still in charge of this film, has a strong metallic rhythm as always, adding a lot of slow-motion strings, creating a tense and weird atmosphere for the film. A film that wins by plot and atmosphere, the quality of music is directly related to the overall effect of the film. There is no doubt that Chu Ishikawa has successfully completed this task. Snake of june continues Shinya Tsukamoto's consistent sex and violence in theme, so it can be said that there is no big breakthrough. Fortunately, he can find a different carrier to interpret his consistent theme every time, which is one reason why his films are still worth looking forward to. When the film was shown at the Venice Film Festival in 2002, there was a long queue at the gate of the cinema, which showed that everyone still liked his film.