茶之味

The Taste of Tea is one of those films that audiences need to wait until the last minute to be able to obtain the message from the director. In other words, Katsuhito Ishill used a plot to arrange what was going to happen and what the connections were between the characters when setting an agenda.The director’s plot to emphasize family relationships can be recognized in this film. Through out the process of the film, it seemed that the family members were only into their own worlds and there were no obvious intersections between each others: Yoshiko (mother) was busy of making her return to an animation career; Hajime (son) was falling in love with Tsuchiya; Sachiko (daughter)’s attention was on her back flip practices; however, in the end, when the director’s message was released, we saw the impacts that these individual family members had made to each other: the eccentric grandpa inspired Yoshiko’s creation of animation; uncle’s help made grandpa’s dream of singing came true; last not the least, the art album that grandpa produced for the whole members – they might not look like a close family, but likewise every family, they truly cared and tried to encourage each other from the bottom of the heart.Individualism is another terminology that the director used in the making of this film. Characters in The Taste of Tea were living in the north of Tokyo, mainly having a life that was very different from the life style of city people, therefore, it is arguable to say their lives were a little boring. Despite this, Ishill let everybody show plenty of individualism which defined a crucial capitalism value – even the lest recognizable individual shins. The behaviours of grandpa might be very unreasonable, but he used those inspirations in his music video; the two guys wore wired animation outfits in the train; the baseball played who were training besides the river; the director operated numerous of little stories which might not make significant sense at explaining the story line, nevertheless, it is clear enough that a plot was used by Ishill to identify the simple value and worthiness of a human being.The editing style in The Taste of Tea is something worth paying attention to. The editor did not do a job of cutting scenes tidy and frequently. In fact, abundant of long scenes appeared in the film to define a notion of the peaceful lives lived by the family and many others in the film. The most noticeable one in this category was the scene that the family was sitting in the living room and drinking teas, which occurred several times. Also, the similar editing style was shown in the scene that Hajime and Tsuchiya were playing chests (that scene lasted more than 2 minutes). I would put this film to the category of light comedy, where not many apparent “fun” scenes were found, but its funniness did offer somewhat philosophies. To me, The Taste of Tea was making a sound saying, life is just like the taste of the tea, which we are able to find in every corner of the world.

大喜大闹大跳感情起起伏伏的生活才精彩吗？

三言两语品茗作画小小幻想的日子也不错的雨天有蛙鸣 晴天有鸟吟 舒缓恬静的小日子

一家人静静的坐在榻榻米上，每个人捧着一个小茶杯，望着外边若有所思，咋一看来似乎有点无厘头，每个人奇怪的要命实则这就是生活。

正是通过导演无边的想象力把每个人内心那奇特的异想世界呈现给大家，当爷爷去世家人翻看他给每个人画的漫画时，质朴平时的感动涌上心头。

如果你喜欢摄影，如果你喜欢玩胶片，如果你喜欢日系的摄影风格，那么这部电影非常符合你得胃口，低低的饱和度和反差，唯美安静的构图，当影片开始hajime走过樱花树下，当大雨瓢泼那广角中的一片树林随雨摆动.......安静平时的美感扑面而来，日系的摄影和电影作品往往都是这样善于抓住最内心深处的东西，暖暖的柔柔的，不经意间眼眶微湿。

今天，走运，遇到茶之味。

大片，淡如茶，不着痕迹，但饱满。

有童年，有中年，有老年；有幻想，有初恋，有绘画；有奔跑，有发呆，有单杠；有夸张，有舞蹈，有夕阳。。。。。。

配乐对味，小姑娘合眼缘，妈妈世界观重叠，单杠空翻藏着我的秘密。

是想象力膨胀的很愉悦的片子。

每个人都那么朴实。

情节清清淡淡的展开，山之歌）和最后幸子一个漂亮的后空翻是，给看这片子的人的最好的礼物。

好像把心放回童年，安度流年，岁月静好。

从来没有一部电影让我这样放松，所以，一直念念不忘。

这种放松，如同告诉你，不管怎样颠沛流离，你最初的样子，一直留在心里。

因此期望自己一生的旋律，像这部，茶之味。

第一次遇见Katsuhito Ishii 导演的“茶之味”是五年前在国外旅行时的露天电影院。

在一众观影的笑声中，我睡着了。

只印象模糊地记住了那首表现形式些许夸张和怪异的“mountain song”。

昨天在小小的手机屏上重温“茶の味”。

午后未开空调的炙热，纱窗偶尔吹拂来的习习凉风，玉兰树上嬉耍的小鸟…甚至，我焦躁的心，和Katsuhito Ishii 的这部电影奇妙的组合成了多维画面与只属于自己的-与其说是观影体验，不如称之为“此心的夏日之味”～不知道导演是怎样做到的，镜头里的场景、细微的流动、声音的背景，甚至脑海中滑过的怪异想法，不知不觉的白日梦，在导演的电影中以层层叠叠、延绵不绝的层次与无限的延展表达出来。

从个体的角度，生命中本就没有所谓的辉煌与成就。

事会变，人会老。

普通人的生活里处处皆是延绵不绝的相续与日常。

日复一日、年复一年，看似相似，却有着无限的延展和鲜活。

那一帧一帧的小日常流动，一家人在门前树下发呆，各有各的烦恼和孤单，看似怪异的暖心爷爷，忙碌又孤独在家庭和事业中努力再努力的妈妈，每日高铁通勤疲惫不堪的爸爸，青春期害羞内向不敢表白的哥哥，幼小的、体会着比成年人更深层生命本质、但又因此而备受困扰的妹妹，在东京打拼表面酷酷的潮男达人，内心实则敏感害羞的叔叔…每个人身上或多或少有我们自己成长和生活的影子。

没有激烈的故事。

一帧一帧流动的日常，每个人的烦恼，退缩，鼓起勇气，害怕，回来，再尝试，面对，放下…每个人以自己的方式面对自己的问题，其中不乏怪异与尴尬的幽默，而时光，也在这当中不知不觉流淌。

两个半小时的观影，没有快进，没有同时做别的，没有像上次一样睡着，莫名的，心由焦躁不知不觉安静了下来。

或许，正是导演所表达出的那一帧帧流动的日常、与细水长流触及内心深处的情感，令我感受到了共鸣，也得到了一种表达，这就是导演与电影的奇妙之处吧。

无聊中夹杂着奇怪的幽默。

一家6口的心事：哥哥-爱情的火车妹妹-前上翻的大我母亲-出轨父亲-心理技巧叔叔-鸡蛋上屎爷爷-老年痴呆棒球黑帮河边舞者

以春野一目送电车开始，懵懂的爱情在少年的心理萌发，迟到的表白让人心理颇为惋惜，而这就是电影里第一个结，随之，导演开始泡茶，淡淡的茶逐渐四散开来，幸子的巨大幻想，叔叔的扯淡故事，一个又一个不算故事的故事连接在一起，朴实平淡，好似午后坐在木质走道上无所事事的眺望远方。

影片中出现很多次大家静静的坐在那里，不知道在看什么，也确实什么都不必做，手中无茶，却也觉得口有余香。

毫无笑点的故事也能让我笑得开怀，我看到春野一为了喜爱的女生冒出的傻气，看到了爷爷为了喜欢的工作而有些神经质，幸子也总是一副面无表情的样子，对什么都无所谓的态度，叔叔问，今天放假么，幸子平静的说不是啊，然后叔叔稍显尴尬的看看妈妈，大家开始喝茶……这种感觉就好像是湿润的海风一般，悄无声息的浸透了人们疲惫的心，很多奇怪的小角色，也给影片增加不少有趣的细节，河边跳舞的人，全身是血的纹身男，黑帮的傻大哥，棒球怪人，真是日本特有的荒诞，却丝毫不觉得做作，就像是茶本身，我不禁想到采茶，晒茶的忙碌景致，每一股淡淡清香的背后却也藏着那么多美妙的分分秒秒，如若品茶，请尽情的想象……当爷爷死后全家翻看画册，幸子的后空翻让人心中一震，实在是美的不一样

<茶之味>,戏如其名。

没有和茶直接相关的因素，但能感觉到茶的沁香扑鼻、悠然自得。

首先是景，很喜欢电影中自然清新的景色，让人很想身在其中，一树、一叶、一花，没有特别和奇特之处，似乎随处可见，但是纤尘不染的生活情景，尤其让人觉得亲切、喜爱。

然后是叙事的节奏，整部影片长达2个多小时，没有激烈的情节，没有高潮起伏，倒象是一个人在午后闲暇时光，漫无目的的想象。

电影有很多种，一种纯粹是视觉享受，刺激、惊险或者完美的镜头一个接一个，绝对不会感觉时间的推移，绝对不需要思考，是消磨时间的首选；一种是大师级的电影，艰涩难懂，闷的让你怀疑自己的品位，然后一遍又一遍，再看看影评人的观点，才多了一点理解。

还有一种，就象〈茶之味〉，完全放松，心情平和，类似对弈或者品茶，比第一种多了一些回味。

记忆中，台湾、日本导演的片子经常有这样的风格，简单、平缓而长久。

很喜欢的一幕：爷爷死后，一家人走进老人的房间，偶然发现爷爷生前留下的画本，每个人都有一册，封面和图案都很可爱，只是每一幅都差不多。

妈妈是画动画的，当她连续翻动画本时，每个人开始活动起来。

原来爷爷把印象中每个人的可爱之处画了下来，多么令人怀念、充满智慧的老人啊！

而他生前，大家都觉得他有点疯疯癫癫。