Tobenai Tsubasa –> some scenes of the movie are featured in this one. Kyomei- Kuukyo na Ishi –> this one is featured in the movie at some scenes. Here are the three MVs of Salyu/Lily Chou-Chou, if you haven’t watched the movie yet you can try these to take a glimpse at the movie’s atmosphere. The first time watching the film, I felt those tracks were somehow freaky, they’re just weird and depressive… but as I continue listening to the songs, my heart melts inside the sounds. 146 mins.If you thought Tim Blake Nelsons O was an edgy high school movie, take a look at Shunji Iwais latest film All About Lily Chou Chou - a harrowing portrait.
Talking the truth, I don’t really enjoy much of Salyu’s music, but Breathe is always the breathe I need… (sorry, can’t stop being a fangirl *_* ).Īctually, I heard more than 3 people said that they don’t like Lily’s music at all. But Lily Chou-Chou is no real, so she actually is Iwai Shunji, Kobayashi Takeshi and Salyu. The other CD is Breathe – in the movie it was a Lily Chou-Chou’s release. You don’t need to watch the movie to feel the beauty of the soundtracks, I think… ‘_’ vĪrranged by Kobayashi Takeshi, most of the soundtracks are inspired from Claude Debussy’s pieces – Arabesque and some others, then a little Japanese traditional music. So, I don’t care what people talking about it, praising or criticizing, I love All About Lily Chou-Chou and everything about it, that’s enough. The director himself and the film have already had their own popularity so I won’t say anything about them here… except, this movie is the most important art piece that influenced me, the one I see most of myself in. A sublimation of everyday life into a film of nearly mythical proportions, anchored in tragedy.Today I’ll introduce the OST of my all time favorite movie, All About Lily Chou-Chou – written and directed by Iwai Shunji. From chatroom hyperlink text to the budding digital cinematography that enhances the film with a disturbing intimacy, Iwai depicts a culture still dominated by CD sales, anticipation for the incoming gaming consoles and, most importantly, a growing feeling of doom-and-gloom vis-à-vis the new millennium. The defining film of an era (rivaled perhaps only by Hideaki Anno’s LOVE AND POP released a few years prior) ALL ABOUT LILY CHOU-CHOU stands today as an exhilarating chronicle of teen angst and a high point in Shunji Iwai’s career for the ways in which it pushes the medium in new directions and perfectly encapsulates the myriad textures of the late ’90s and early 2000s.
With ALL ABOUT LILY CHOU-CHOU, Shunji Iwai’s coming-of-age cinema transitions towards a more clearly defined genre space, complicating expected tropes with a powerful glimpse into darkness and a potent look at a generation’s growing, media-saturated malaise. The teens discover their identities, affirm their passion and the slippery distinction between right and wrong as their embattled psychic landscapes are laid bare on the virtual walls of an Internet chatroom – pulsing to the pangs of a powerful, all-consuming fandom. Lily Chou-Chou’s music becomes a shared gateway into their tumultuous lives over the course of a few, formative years of adolescence. Among them, the shy Shuichi (Hayato Ichihara) and the bullish Shusuke (Shugo Oshinari). Mysterious, ethereal dream-pop star Lily Chou-Chou dominates the charts, and the hearts of middle schoolers across Japan.