'' Byousoku 5 Centimeter (5 cm / s) '' - is a popular Japanese anime series .. It is a story about couples' love, but they can not come together. If anyone starts to watch anime, then I recommend reading this review .. it will bring you more emotions .. I hope my article is appreciated .. I have dedicated my heart and My love for this movie .. I hope everyone likes my post ..
The beginning of the film is the image of a lonely cherry petal is falling, landing in a puddle of water reflecting a branch of cherry tree. At the beginning of this image, a single cherry blossom floats on the surface of a puddle in a variety of dewy cherry blossoms, like the snow, Shinkai Makoto foretells loneliness and loneliness. movie. Then there are the cherry blossoms falling on the sewer, narrowing the gap between the cars and the city walls, lining the road, slipping across the slopes. And two children appeared, walked slowly, ran, chased each other through the streets, Tohno Takaki and Shinohara Akari. Akari ran before, crossing the pedestrian crossing and the tramway, where Takaki boy was stopped by barricades, the train passing by. Akari's wide-eyed promises of Akari promise once again, together to watch the cherry blossoms fall.
Terminate the first of Tohno Takaki's memories of Shinohara Akari.
The next passages appear in Akari's letters to the boy. The image stands alone in the mailbox, the football field is deserted with the only highlight is the white gray frame, the corridor classroom is not shiny people, Takaki lonely in the classroom with handwritten letter Akari's, a mini truck lurking under the heat of the summer, ... All the images in the frame allude to an object, an object lying just where it belongs. By these images, Shinkai Makoto does not talk about the loneliness of the little boy living in Tokyo, the viewer himself recognizes those images on a monotonous note accompanied by Akari's letters. Here there is a very clear contrast but still very balanced. The letters Akari sends, the voice of her letters are all resounding to make viewers feel like Akari is very close, very close to Takaki but the image of solitude in the boy's daily life, in the classroom , on the way home, in the little room, .. the effect is the contrast with the letter. The bond between Takaki and Akari, Takaki's loneliness is balanced on the basis of not too deep bass, not overhanging, hovering, falling slowly. And the viewer suddenly realized that loneliness was interwoven with the bond between Takaki and Akari when a bird appeared in the boy's gaze, soared into the dark sky, through the clouds and there. It seemed to fly so far away, to slam her head on the bench in the street, reading a book, thinking of Takaki, and raising his head to look at the bird that had just flown over.
The first part of Oukashyou is the most impressive part of the film; Perhaps it was because it was the beginning and quite bright with the beautiful pink chalk of cherry petals. This is also the richest graphic language in the film. By mixing static images with neutral and slightly turquoise moving images, Shinkai Makoto brings the lightness and deepness of the bird's wings soaring into the sky, Wandering through the wings, he himself silently alerts the reader to a transformation in the film circuit.
From the top of the bird's eye view, the view point in the film began to descend, returning, landing on Takaki's desk. From there, the film began to move, from the image of a bicycle with a basket full of fresh cans in the rain. Rain drained away the previous silence of the film, and from the image of the rain, the film circuit began to move. The footage of the two elementary school children hugged by teaser friends interwoven with scenes of moving in the city of middle school student Takaki. Gently. Humble. Slowly. The film begins to accelerate as Takaki decides to go to see Akari. It's a long way to go in the snow. The viewer might have wondered, "How lonely was he when he decided to go that far to find his fulcrum Akari?" And the loneliness of Takaki junior high school boy quickly portrayed on the tram.
Trams travel in the snow, but also because of the weather that sometimes has to stop. At each transfer stop because of heavy snowfall on the track, Takaki once more desperate. It is no coincidence that Shinkai Makoto took so many short cuts on Takaki's journey. At each stop, Takaki's lonely image on the bench, looking out the window, clutching the schedule of the tram, interwoven with the lonely emotions and memories of the past was further clarified. , engraved into the viewer's mind a pain of loneliness.
At the end of the journey, Takaki arrives at Akari's place, where the two children are once again together to watch cherry blossoms..
Kosumonauto is the Japanese transcription of Cosmonaut - astronaut
The footage in this section is somewhat more moving than the Oukashyou part. But overall, Kosumonauto has a smoother and softer rhythm.
Starting Kosumonauto is the image of little Sumida Kanae, who went to the same school with Tohno Takaki alone on a long, endless road. In the middle of the fields, a mini pickup truck runs up, Kanae's sister drops her glasses, asks her about school. From this frame, the road between the fields spread out, deep into the viewer's eyes to stop at the aspirations sheet after her high school graduation. Picture of wishlist is the focal material in this section: questions about the future.
The film has an interesting transformation is told by many characters and in the section Kosumonaut, the narrator is Sumida Kanae. From Kanae's point of view, Takaki's image appears. The boy that day is now a high school student, joining the archery club rather than huddled in the library like elementary school. In the ensemble's clothing, his image shows up with his eyes focused, arching his bow, and firing. Takaki's key image in this moment is the arrows. In the direction of the Japanese, there is a concept that the mind is not calm, the arrow can not fire out the correct flight path. Takaki is indifferent with eyes full of concentration, but shoots arrows that never go into the red heart. Director Shinkai Makoto succeeds in skillfully arranging an inner move in the mold. stills
The rest of the film in this section is the daily life of little Kanae, who chased after Takaki, who did not mind to walk away. In the midst of his future dreams, Kanae's desire to chase after Takaki, Takaki quietly walks away without a dream. The movie becomes brighter thanks to Kanae's point of view and storyboard, which is the view and narrative of a pure, innocent high school girl. And the darkest or brightest movie moments are related to Takaki. The part of Kosumonauto gradually closes with Takaki sitting on the hill and the phone contains messages that have never been sent. Even in the eyes of a girl as innocent as Kanae, the image that Takaki saved was very dark.
The final highlight and also the most important highlight in terms of visual as well as symbolic used in the film in general, and this section Kosumonauto in particular is the satellite image launched in rural Kanae and Takaki are in. When Kanae starts desperately on the path of Takaki, when the time to decide on her future career narrows, the satellite launches. The image of the ship leaving the launch pad, with smoke clouded but soaring into the sky high clouds are an impressive image for the viewer. The impression of the ship not only lies in the detail of the frame, but also the way the viewer sees it. From a very low point of view, as the bottom line of the emotion that Kanae gives Takaki, as the lowest point Takaki's loneliness has reached, the ship flies up, the viewer trailing the tail of the child. broaden, broaden, broaden a view of an area, then follow it, toward the sky, through the clouds, and explode emotionally. The image of the airship is represented by emotions, Kanae's restrained dreams. That is also the reason that the second part is named Kosumonauto - Cosmonaut, astronaut. It's like the dream of a kid's baby, dreaming of flying so far, free in the air. The image of the ship was long silenced on the ground like the trapped, stuck Takaki had endured on the train in the past, waiting for a moment to burst.
The Byousoku 5 Centimeter is interesting to have a very clear and close relationship with Oukashyou in terms of visuals.
The beginning of the Byousoku 5 Centimeter is similar to Oukashyou's start, a singular cherry blossom. If, in Oukashyou, the singular cherry petal falls on the water that the two elementary school children are not aware of, the image of cherry petal lingering in the third part is now seen, very noticeable. distinctly in Takaki's mind. The image of the lonely petal fell on his desk softly enough to stop him from watching. And the other cherry blossom petals, follow the wind, into his mind. "Another spring."
The film began to move as Takaki stood up, left the house, walked on the road covered with petals, along the sloping long pink chalk past the pedestrian and rail crossings. Metro; Is that old Takaki and Akari street past? There, at the crossroads between the pedestrian and tram lines, he glided across a woman who, with a startled look on her face, space and time, stopped at Takaki's place.
The movie also stopped Takaki's reality at that moment, going back a bit to tell Takaki himself about his return to Tokyo to work, to meet his girlfriend, to despair in his emotions and memories of Akari, Work leads to decision to give up. Takaki's desperate images are slowly recounted. Until Takaki's emotions can no longer fall, they begin to change. No longer is Takaki solitary on the train, amid the influx of people, alone. At this time, a parallel adult Akari appears, telling a dream, they meet again.
In the third part of the Byousoku 5 Centimeter, Shinkai Makoto accelerated the transfer speed of the image faster than the previous two. The changes in the main color of the gray-black frame in Takaki's mind when desperately looking at themselves are dying out in memory of Akari, from the bright white of his life and future. Akari's soon-to-be-married woman, to the pink chalk of the cherry petals at the junction where the two kids had once made a comeback to watch cherry blossoms, the junction of which Takaki was hopelessly Inadvertently gliding through Akari's silhouette, changes in the color of the frame as well as the dense image of two very different parallel worlds that Takaki is walking away, Akari is stepping on the accelerated transmission. The melody of the song One more time one more change, so that when the lyrics end, it's all one Takaki glanced back, Akari's woman's silhouette disappeared momentarily after the train car.
In the last part of Byousoku 5 Centimeter, no image was highlighted. The only trick that Shinkai Makoto uses is to sum up the images from Oukashyou and Kosumonauto with a bit of clever switch, to finish the third.
Byousoku 5 Centimeter - 5 centimeters per second is an emotional film. What Byousoku 5 Centimeter evokes in the audience is the feeling of loneliness, the most used image material and the most characteristic material in Japanese cinema is the cherry blossom . The film selects cherry blossom as the main theme, through the manipulation that Shinkai Makoto blows into that lonely. The loneliness of a singular cherry petal looms in a narrow corner. The single cherry petal image appeared from the first few seconds of the film, transforming its loneliness to the spirit of the protagonist and walking through nearly half of Takaki's youth, leaving in a very short span of time. , melts into the air. Perhaps, just maybe, a whole movie with lots of moments, many of the memories in those silent images are just a moment, a second when Takaki glances at the girl at the intersection. Keep the track for pedestrians and trams. All in just one second with 5 centimeters of emotions flying in the wind, the viewer admired the most impressive frames as well as Tohno Takaki's lonely experience and loneliness reflection in the viewers themselves. Like the reflection of lonely cherry petals lying on the water at the beginning of the film..
In this movie I like most of the lines :
"If the speed of the cherry blossom falls to 5cm / s, it certainly will not be that beautiful." If the distance between me and you is 5cm, it only takes 1s to come to me, not a lifetime ... Cherry blossoms still fall and .. I still grasp it "
"5cm / s is not just the speed of falling of cherry blossom petals, but also the velocity we quietly step through each other, lost so passionate feelings of love"
Seeing this movie, surely you and I will feel sad and have gaps in our hearts ... I want to advise people: "You never miss the one you love, because you will regret later"
'
By: 
Thank for reading ❤️
I'm not a good blogger, what I bring to people is my thoughts on life!