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S虽然日本影坛近几年推出了不少佳作,但细心的观众不难发现,《情书》《鳗鱼》偏重艺术性;《失乐园》《谈谈情,跳跳舞》讲述家庭伦理;《涉谷24小时》《花火》揭示社会阴暗面;即使像《午夜凶铃》系列票房狂收,但这类恐怖片始终不能吸引各阶层观众,在惊险动作片类型中,日本电影仿佛交了一张白卷。不过,这种尴尬的情形终于随着
S Although Japanese cinemas have released many excellent works in recent years, attentive audiences find it hard to find “love letters” and “eels” more emphasis on artistry. “Paradise Lost” “talk about love and dancing” tells about family ethics; “Shibuya 24 hours ”“ Fireworks ”reveals the dark side of society. Even if the series of box-office shooters such as“ Midnight Rush ”are upbeat, such horror films have always failed to attract audiences of all walks of life. Japanese films seem to have delivered a piece of white paper in the thriller type. However, this embarrassing situation finally followed