This review may contain spoilers. I can handle the truth.
Ghost whisperer with genuine emotion. It could have fell into the trap set by the premise so easily, but Hamaguchi pulled it off with delicacy, especially in the final possession scene.
It's really cruel to use summer afternoons as setting to mourn the relationships that once were. One only ended less than a year ago, the other one was long gone before the two involved even knew it. This mother-son relationships is a bleaker version than those in Passing Summer.
Also quite interesting, the little kid and the dying man are the most carefree among these characters. When did we stop being free from all the entanglements around us?
A genuine remarkable coming-of-age film. In a way, it's the spiritual sequel to Massadian's feature debut Nana, both paint the picture of a female protagonist coming to understand the world. While the result of Nana feels more mysterious, Milla has opted for a different direction. Since Milla is at an older age than Nana, events happened in life are not beyond her comprehension. There are more about Milla to explore for Massadian after the life changing incidents.
Massadian also avoids…
Many close-ups of conscience. Ann’s righteousness is contagious, not only is Joe under her spell (naturally, in film noir), she also gets under Pat’s skin. But the truth is, Pat always has her conscience hidden inside somewhere. Through series of aptly deployed voiceovers, we hear her inner struggle gradually intensified. Ultimately it leads to the best scene of the movie. Standing against both a ticking clock and a babbling lover, all she can think about is Ann, Ann, Ann!