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Halloween Doll

That blogger acknowledges that there has been no previous work Hirozaku Koreeda, so I can not set points common with his work prior to his latest work, Air Doll bold and beautiful film, equal parts. Air

Doll begins with a scene of daily life for the protagonist, but for the average viewer is a simulacrum of everyday life. That same scene, in which a man is having dinner with an inflatable doll which is as real and constant sets that will follow the film, but the scene really encapsulates the key to the films, both in beauty and substance, is when the blow-up doll come to life. The strange, the fantastic is integrated as a relatively normal life cotidiana.Describirla would be a waste of time because it is better to sit and enjoy it.

Koreeda made a fairy tale that is built between the naivete of the protagonist and perversion around him, a perversion that reveals the product of solitude, a solitude as laces collectively underscore the film through a side that uses the director to represent a universe filled with losses, failures and, above all, lack of affection.

But more important is how Koreeda represents: a microcosm where the characters have developed and over time, a time and place that never changes for them: still alone. The general plans are intended to represent a gap that acts as a metaphor for his own thesis of the film, and treated with a beautiful and contemplative poetry thanks to the care of its director, who produced unforgettable images and plans for its beauty and depth (deflated doll, the encounter with the grandfather or the sad ending).

And once again, we need to emphasize the intelligence of its director who, literally and symbolically, uses the story of an inflatable doll that comes alive as the vacuum representation of the human in today's society, because of the daily life and of culture, in which the sad thing is that neither sex can be a solution.