活跃在近二三十年的日本导演曾有这样一种困惑,所有的好题材都被先人前辈拍尽了,就连观众热捧、院线火暴的黄金时代都不复存在。类似困惑延续到今天,常有以下言论:“当代日本导演和他们的新片要故事不如黑泽明、要镜头不如沟口、要味道不如小津……”一串人名下来,总之一无是处就对了。 Japanese directors active in the past two or three decades once had such a confusion that all the good topics had been made by forerunners, and even the popular audience and the golden age of cinema no longer existed. Similar puzzles continue to today, often the following remarks: “Contemporary Japanese directors and their new films to the story as Akira Kurosawa, to the lens as Mizoguchi, to taste than Ozu ... ” a string of names down, It’s