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A Failure In Structure And Taste - Film Review: Good On Paper
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The two protagonists, Rei (Kiko Mizuhara) and Nanae (Honami Sato) seem to have no intersection point in their adult life at the beginning of the film. We know right from the start that Rei is a well-to-do plastic surgeon in a stable relationship with another woman. Her family, though loving and supportive, is in the dark of her being a lesbian, given that the identity is presumably very much stigmatized in the context of the story.
The misdirection of the state of their relationship dominates throughout the development of the storyline
On the other hand, Nanae, being an old acquaintance of Rei, is a long-suffering victim of domestic violence. The misdirection of the state of their relationship dominates throughout the development of the storyline. The story then attempts to explore their defiance against the society and possibly patriarchy through their careful probing of each other’s feelings.
A young and somewhat impoverished writer who had just left journalism to pursue a literary career, he had little means to support an extravagant life. Yet the young Hemingway managed to capture and enjoy the small pleasure brought by a cup of ordinary coffee or a glass of wine. He ate, drank and enjoyed the never-ending banquet in a foreign city.
Traces of Hemingway’s retrospectives of this life of excess can be found everywhere in the collection
However, this lifestyle was obviously not without consequences. Traces of Hemingway’s retrospectives of this life of excess can be found everywhere in the collection, in explanation for what he deemed enjoyment at the time and might viewed as alcoholism later. At the (hopefully) end of a painfully long lockdown, we certainly can identify with Hemingway’s sentiments and nostalgia for a free and seemingly consequence-free life.