But Lily Chou-Chou has these identities already established in its online world, where characters can present the best versions of themselves. Many coming-of-age films use a search for personal identity as a transitional motivation. The sexual objectification in the first sequence becomes cruelty and sexual violence in the second. The same camera in the movie is used to say two different things about the characters behind them. This is surely a before and after comparison. In terms of tone, the first is like a fever dream, and the second is nauseating, the extreme shakiness of the camerawork paralleling violent struggle. There are two sequences in Lily Chou-Chou that consist of lo-fi handheld footage stitched together, as characters film what happens around them. Korine exposes an overt trashiness in his characters and their settings, Iwai hides it so that when it comes through, it poisons us slowly but the end result is a realization that this clean, clean world has pushed all lits insecurities and pressures onto its people. Iwai brings a sterility to Lily Chou-Chou that offsets its tragic and repulsive subject matter.
They are both more concerned about tone and feeling and texture than having a conventional narrative.īut Korine's world is peeling and moldy and rotten at the edges.
Shunji Iwai channels Harmony Korine here, or at least that's how I felt. It is not without flaws but I found it moving and very interesting, and I think it's worth your time. The coming-of-age genre is quite saturated but Shunji Iwai brought something new and daring to the table with All About Lily Chou-Chou. NOTE: Parts of this come from my Letterboxd review.
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