Musk's Texas-sized $1 trillion payday enabled by state's new law
The film follows Hirayama (Koji Yakusho), a Tokyo toilet cleaner whose existence is defined by simple rituals: tending to plants, reading, listening to cassette tapes, and watching the play of light through trees. His life may appear monotonous, yet Wenders reveals an extraordinary richness beneath its surface. Small encounters—an unexpected conversation, a fleeting smile, a memory stirred by music—become luminous moments that hint at the vast emotional world within him.
Wenders crafts the film with tender precision, using stillness and repetition not as tedium but as rhythm, allowing the audience to sink into Hirayama’s perspective. The framing often emphasizes solitude, yet never loneliness—there is a profound dignity in the way he lives. Koji Yakusho gives a masterful, understated performance, letting subtle expressions carry the weight of longing, regret, and quiet joy.
The film touches on themes of memory, time, and the meaning of fulfillment in a world obsessed with ambition. Its power lies in suggestion: we sense fragments of Hirayama’s past but never receive full explanations, mirroring the way strangers’ lives pass us by.
By its close, Perfect Days leaves the viewer contemplating what it means to live well. Is happiness found in achievement, or in the careful attention to the present moment? Wenders leans toward the latter, offering a deeply human, profoundly moving cinematic meditation.
沒有留言:
張貼留言