Gallery
Baca dan Download Doujin Bahasa Indonesia Download mudah via Google Drive atau Mediafire Gak ngerti cara download? Nih Tutorial Jangan lupa comment dan reaksinya! Harap Lapor jika ada Gambar atau…
Mau download doujin via googledrive atau mediafire lewatin dulu LinkRupiah nya 1. Klik Kotak captcha dan ikutin sesuai perintah 2. Kalau udah terceklis, lalu klik I am not Robot (Kotak…
Millennium Actress is one of those frustrating movies where I feel I should like it a lot more than I did. There’s nothing technically wrong with it; the story is well-told, it all makes thematic sense, and Satoshi Kon is nothing if not a master of the technical craft of directing. It’s a damn good film by any stretch of the imagination, bursting with imagination and depth as it details the life of a long-lived actress as processed through the movies and filmic hagiography that defined her career, exploring how fantasy and reality intertwine and shape each other as only Kon is capable of. But for whatever reason, it just didn’t really click with me on a deeper level. I appreciate all the things it does well, and there’s a lot I like in it, but it’s not a movie I see myself revisiting in my thoughts, playing the ideas and images in my mind over and over again for the simple joy of re-experiencing them in a new light. And considering how much Perfect Blue swept me away, that’s definitely disappointing.
And perhaps that’s the real issue with Millennium Actress: because you can see where it’s going pretty much right away, it’s not really able to surprise you. Once you get to the film’s midsection and we start jumping through a series of fantasy sequences where Chiyoko’s lifelong journey is represented by the many films she’s acted in, you can pretty much guess every story beat long before it arrives. It’s not a bad story, it’s just an obvious story, and it leaves you with no real tension to keep you invested. Whatever else might be said about Perfect Blue and Paranoia Agent, those stories were masters of keeping you guessing what was going to happen. Even if you could figure out the thematic points fairly easily, you were never quite sure where the story was going to go, who was going to live, who was going to die, or even what the ultimate conclusion was going to be. Kon is a master of keeping you on your toes, stuck between fantasy and reality and desperately clawing for a way out. There are moments from Perfect Blue that genuinely scared the piss out of me because I had no idea if Mima would be able to escape her dark, twisted situation. Obviously, this is a much lighter film that’s not trying to be nearly as visceral or intense, so it’s not fair to hold that against it. But compared to how unpredictable Kon’s work can be, Millennium Actress just couldn’t keep me on the edge of my seat with uncertainty like he usually does.
9) Wagamama Ouji wa Neko wo Karu by Sakyou Aya
