Spring Like Lover (2017)

Action and reaction

Although this is a short movie, it transports the emotions of the characters pretty good.

I guess, this is all about "If you don't appreciate what you have in a partner, do not be surprised if everything goes to waste". And "Every action causes a reaction, so be carefull about what you do."
Therefor, the person I most feel sorry for is Kazu. He is the one who is devoted to the relationship and does everything (and I mean EVERYTHING) for Shin - but is still wronged in the end.

The acting is on point, the cinematography well done (I rewatched it just because I did not get of the deeper meaning of some of the scenes at first) . For me this is not a feel good movie, but a realistic one (sadly).

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I always appreciate the fact that the Japanese go all out. This is also the case with this project, when the actors and the "meringues" play as they should be and are not fishy or stone-like, as we are often used to in Thailand, the Philippines, and sometimes in Korea. It's a real-life drama where the men cheat on each other, are cruel, lied to and then play the victim, the acting is excellent. I didn't find anything about the sound that would make me evaluate it as below average, I was bothered by the last long "frazzled" conclusion to the "disappointed" Shin, even though the creators probably wanted it that way. In the evaluation, many viewers deduct points for the fact that it is not a fairy tale or at least a semi-fairy tale, the characters are not handsome princes, and men who like men are depicted here in not very flattering colors. But even this is life itself for me. The film gave me "something" and I also thank you for the Slovak subtitles.


U Japonců si vždy cením toho, že jdou do všeho naplno. Tak je tomu i u tohoto projektu, kdy herci i ty "pusinky" zahrají tak, jak mají být a nejsou rybí či kamenné, jak jsme zvyklí mnohdy v Thajsku, Filipínách, někdy i v Koreji. Je to drama ze života, kdy se ti muži podvádí navzájem, jsou krutí, prolhaní a pak si hrají na ublížené oběti, herecké výkony výborné. U zvuku jsem nenašel nic, co by mě přimělo hodnotit jej jako podprůměrný, ve zpracování mi vadil poslední dlouhý "roztřepaný" závěr na "zklamaného" Shina, i když to zřejmě tak tvůrci chtěli. V hodnocení mnozí diváci strhnou body za to, že to není pohádka nebo alespoň polopohádka, postavy nejsou žádní krásní princové a muži, co mají rádi muže, jsou zde vykresleni v ne moc lichotivých barvách. Ale i toto je pro mě život sám. Film mi to "něco" dal a rovněž děkuji za slovenské titulky.

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How much and in what way will our own decisions and those of others affect us?

One of the most complex and uncomfortable topics in human relationships is infidelity, but our worst qualities, decisions and actions are a great tool for cinema, which can turn even the most twisted relationship into an emotional, deep, complex story. and explosive, which divides opinions and leads us to explore what we do not dare to see in ourselves.
Infidelity is ugly and painful, and can be traumatic for many people, but it becomes interesting and arouses curiosity when it is a "tragedy of others", the kind that movies show us, and it is also a good way to learn about more about the subject, the reasons that lead us to betray our partner and the way we deal with all that.
'Spring Like a Lover', by director, screenwriter and editor Daisuke Shigaya, is a 2017 Japanese film that proposes an unusual love triangle between three homosexual men whose lives fatefully intertwine.
Kazu (Konosuke Furuya) distrusts her current boyfriend, Shin (Tact Igarashi), a moody photographer, because she believes he is unfaithful. After an argument, Kazu revisits her ex-boyfriend, Takashi (Kazuki Kawakami), but discovers that he is now married to a woman and is unaware that this man is the one Shin has been having sex with behind his back. After the reunion, Takashi rekindles his feelings for the person who once shared his bed.
In this story about sex, betrayal, obsession and toxic relationships, the lives of these three men become complicated after the infidelity of one of them towards his partner. Of course, no one deliberately wants to harm others, but that is exactly what they end up doing.
One night, Takashi tries to have sex with Kazu, but Kazu immediately rejects him, not wanting to be involved in a relationship with a married man, and returns to Shin's house.
In Kazu's absence, Shin goes out to the terrace where her boyfriend has a beautiful caged songbird and deliberately tries to make the bird fly out of the cage. When he doesn't succeed, he leaves the door open.
In this short film that explores the universality of human emotions and poses a question: How much and in what way will our own decisions and those of others affect us? When reality breaks through, this complicated love triangle leads to tears, confrontations , breakups and violence.
After returning home, Kazu and Shin's reunion allows them to reconcile and strengthen their relationship. However, Takashi has not been able to forget Kazu, so he confesses to his wife about his sexuality, and she breaks up with him, but not before accusing him of betrayal for not having been honest with her.
Kazu is the most empathetic character of the three. Because he cares about Shin, he is able to activate a protective instinct in him. She loves her boyfriend, so she will seek to prevent him from suffering the consequences of her own actions and decisions, even if the price is high. He has seen how the photographer is heading towards a precipice and since there is nothing he can do to stop him, he appears frustrated and helpless. The image in the bathtub is, in addition to being heartbreaking, symbolic in this sense.
Shin is not a good man who messes up and makes a mistake. Both the script and the film are responsible for emphasizing that she is deliberately unfaithful to her boyfriend, and this fact will unleash all the subsequent conflicts. In addition, he violates people's privacy by taking photos of them in the streets without their consent, so he has to flee when he is caught in the act, because although in Japan it is not a criminal offense to photograph people's faces in public, it can be a crime. a civil offense if the person who has been photographed finds or fears that their image may be published anywhere.
On the other hand, Shin shows a cruel and violent face, not only for hitting Takashi, but for retaliating against Kazu in the bird for abandoning him and leaving the house. Even so, the strong emotional control she has over her boyfriend is evident.
Between arguments, crying, beatings, nude scenes and explicit sex, the 33-minute duration of the footage passes, which should not be analyzed, evaluated, labeled and classified as BL. There is a tendency among lovers of the so-called "Boys Love" to classify as such any love relationship between boys on the screen, and when they discover that the audiovisual shows a more complex dynamic, with characters with diverse nuances, circumstances and conflicts that surpass those of the genre of their preference, they accuse that this is not what they want to see, that they do not understand the film or television proposal, and they advise others not to see the artistic product, but not before giving low ratings on platforms where they are discussed. and analyze these dramatizations.
'Spring Like a Lover' is not a BL genre film, but an LGBT+ themed drama. The viewer should not expect to find here a tender and light romance between boys of those in which the audience is more interested in knowing the height of the step from which one of the protagonists will fall into the arms of the other to be happily ever after, in instead of living an experience closer to real life.
That is why 'Sprint Like a Lover' does not shy away from presenting damaged, broken, unfaithful, lying and miserable beings, as well as betrayal, infidelity, dysfunctional relationships, violence in the couple, breakups, pain. It does not shy away from showing romantic lives that are flawed and in complete anarchy.
If Shin's infidelity has an impact on the couple and on Takashi, the latter is the living reflection of human misery, selfishness, hypocrisy and limitless cruelty in demanding sex from Kazu in exchange for Shin's freedom, in addition to accept money from Kazu to drop the charges against her boyfriend.
The three men carry the entire weight of the film, without ignoring the brief presence of Takashi's wife, and are capable of transmitting emotions with gestures, silences, screams and looks in a performance as subtle as it is extraordinary, closing an intense, heartbreaking film. and very emotional.
The ending does not surprise fans of dramas that explore relationships with all their contradictions, conflicts and realities. Shin's infidelity causes his own ruin and that of the other two men.
"No one is an island, complete in himself," the poet John Donne wrote centuries ago. That is why Shin's actions influence both his own life and that of the other two characters, and end up affecting them directly. By being forced to assume the consequences of their own decisions and those of others, they see their worlds destabilized and condemned to a spiral of many other equally erroneous and destabilizing acts and decisions.
It is then that the viewer can understand the message of the film: the importance of becoming aware that every decision we make and every act we perform has natural and social consequences. We are all responsible for every decision we make and every act we perform, in such a way that we can say that our life is the result of our choices and not of circumstances. While it is true that circumstances influence our reality in life, it is also important to accept the fact that what is truly determining is the way in which we choose to react to each situation that is presented to us.
Perhaps somewhat underrated at the time, with the passage of time it has gained public understanding, but it must be seen because Daisuke Shigaya knew what he was doing with this film of rebellious and explosive emotions. We are rational beings, which adds one more element to the mere instinctive aspect that characterizes us. The fact of being rational beings implies that we can choose the way we react to the different circumstances in life, hence the statement that our life is the result of our decisions, not the circumstances.

Observation: MDL and other platforms make a mistake by labeling Tact Igarashi as Kazu. The character of Kazu is played by Konosuke Furuya, while Tact Igarashi plays Shinji Matsumoto or simply Shin, Kazu's photographer boyfriend. The character of Takashi is played by actor Kazuki Kawakami.
The director, screenwriter and editor of the film is Daisuke Shigaya.
Please, if someone could help verify and correct the error I would appreciate it. Thank you.

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