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飯島朋彦
- 2020年5月21日
黒沢清監督と進也さんのこと
黒沢清監督の映画が好きだ。 ニンゲン合格やカリスマ辺りをちょうど大学に入ったばかりの頃に観るようになって、蛇の道や蜘蛛の瞳、cure、アカルイミライなんかに熱狂していた。 2000年代丁度位の時期。 9.11のあとにアカルイミライだったのが、個人的にすごく良かったし、あの映画でバックホーンを知った。 自分が躊躇無く撃ち殺そうとした相手を直後に躊躇なく助けようとすることが出来る。 ストーリーを説明しようとするとアホみたいになってしまう、最凶に楽しい黒沢清映画で僕は、不条理という概念の肯定的な理解を手に入れた。矛盾？論理？知ったことか。 我、為す。ただ為すなり。 黒沢映画の登場人物は、走り、歩き回る。突然落下する物体があり、霊が、霊体ではありえない重力を、感じてしまったかのようにゆらりと体勢を崩しかけ、直る仕草。背筋が凍るほどの恐怖。 ジガ・ヴェルトフ以来、映画はずっと、運動こそがその本質的魅力の重要な要素でありつづけている。 運動。 仕草の発明。 そう、発明こそが偉大なのだ。 僕にとってスピルバークが偉大なのは、ETで指を合わせるシーンを発明したか
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