“愛してしまう。「あなた」をー。”
麦(東出昌大)と朝子(唐田えりか)は恋に落ちるが、麦は彼女の前から突然居なくなってしまう。それから2年がたち、彼女は麦との思い出が残る大阪を離れて東京で暮らし始める。ある日、麦と外見はそっくりだが性格の違う亮平(東出昌大)と出会う。麦のことを忘れられないがゆえに彼を避けていたが、一方の亮平はそんな彼女に強く惹かれる。亮平と接するうちに彼に惹(ひ)かれていく朝子だったが......。
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: 濱口竜介
音楽: tofubeats
撮影監督: 佐々木靖之
制作会社: C&I entertainment / Nagoya Broadcasting Network / Bitters End / Comme des Cinémas
With this film (following Happy Hour), Hamaguchi cements his role as the ultimate diviner of the chaos of human emotion. Few other directors can navigate this terrain with the empathic thoroughness of Hamaguchi. In "Asako I & II", Hamaguchi explores love's most mercurial landscape through a narrative of uncanny resemblance and emotional displacement. The film's subtle genius lies in its exploration of how we construct and reconstruct romantic narratives. A pivotal moment occurs in Shigeo Gocho's photography exhibition, where Asako contemplates a photograph of what appear to be identical twins. This visual meditation becomes a metaphorical key to the film's deeper inquiry: Are we loving individuals, or projections of our own emotional needs? Baku and Ryohei - two men who look remarkably alike but represent radically different emotional territories - become less characters than psychological states. They are what Asako draws to herself via the power of attraction. The truth about the title is that Asako is the real doppelganger, albeit internally. Erika Karata (Asako) does an amazing job conveying her internal pas de deux. Hamaguchi suggests that romantic attachment is less about the specific person and more about our internal emotional choreography. His real directorial brilliance is his refusal to judge - which we will see again in "Drive My Car" - creating a nuanced exploration of how memory, desire, and perception intertwine to create what we call love.
