The active life sustaining supple harmless interactive thought, consoling quirky consternation adept immersive ingenuity.
The calm and patient holistic vision stoic steadfast solemn varsity, pertinent adaptable expansive sizzle earmarked voltaic latent pressure.
But his (Hidetoshi Nishijima as Yûsuke Kafuku) loving partner (Reika Kirishima as Oto) suddenly passes when perhaps he could have intervened, or said something to swiftly alter the dismal moribounding hemorrhage.
Psychologically deconstructed he gradually jukes and jets and jigsaws, slowly reimagining amenable principle through lighthearted chill experiment.
At one time he reflexively envisioned daunting twists tantalizing turmoil, without pause or critical reflection the plain and simple erudite schism.
But his wife first found the idea, after which he quickly improvised.
The working relationship romantically inclined freeform forgiveness inveterate l'amour, a rare gift celestially insatiable prolonged compression distilled adrenaline.
A common goal remarkably productive intermittent rowdy regenerative horseplay, benefits accrued conducive clutches laidback lax alert consistency.
Not one to overlook novelty, he notices his new driver's (Tôko Miura as Misaki Watari) abounding with pluck, somewhat forlorn yet still observant eager to multidimensionally disperse.
In possession of secrets so much distraction inanimate disconcerting dalliance, inopportune exported rationed irrevocable hardwire harrowing husk.
Kafuku winds up working with a young actor (Masaki Okada as Koji Takatsuki) who had an affair with his wife, the two awkwardly engaged through mutual love lost shin limitless lugubrity.
One young and blunt unwilling to hold back the thoughts which emerge to haunt him, the other sombre and much less eager to discuss such sensitive direct subjects.
Through these discussions a play takes shape as volatility blends with reason.
Only to ceremoniously fade.
Tragic rage.
Resurgent vellum.
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