家具職人である聡介は、ある朝突然、結婚を誓いあった利菜に別れを告げられる。そんな中、彼は上京してきた大学時代の仲間・知加子と再会し、やがてふたりは当時のような共同生活を始める。ふたりは距離を縮めていくが、彼女には聡介に言えない秘密があり……。ある日突然、婚約者から別れを切り出された男性と、秘密を抱える女性、大学仲間であるふたりの奇妙な共同生活の行方を爽やかに描き出したヒューマン・ドラマ。岩井俊二監督の『花とアリス』や今年公開作『心中天使』や『家族X』にも出演している実力派俳優・郭智博が主演を務め、女性に振り回されながらも自分の道を模索する等身大の青年を熱演。

家具職人である聡介は、ある朝突然、結婚を誓いあった利菜に別れを告げられる。そんな中、彼は上京してきた大学時代の仲間・知加子と再会し、やがてふたりは当時のような共同生活を始める。ふたりは距離を縮めていくが、彼女には聡介に言えない秘密があり……。ある日突然、婚約者から別れを切り出された男性と、秘密を抱える女性、大学仲間であるふたりの奇妙な共同生活の行方を爽やかに描き出したヒューマン・ドラマ。岩井俊二監督の『花とアリス』や今年公開作『心中天使』や『家族X』にも出演している実力派俳優・郭智博が主演を務め、女性に振り回されながらも自分の道を模索する等身大の青年を熱演。

Yamashiro channels the stories of survivors of the Battle of Okinawa through lip-synch and superimposition. With her body as an archive, she stages the link between the donors and inheritors of trauma and, ultimately, the impossibility of transferring memory across generational lines.

Yamashiro channels the stories of survivors of the Battle of Okinawa through lip-synch and superimposition. With her body as an archive, she stages the link between the donors and inheritors of trauma and, ultimately, the impossibility of transferring memory across generational lines.

体育教師の小泉は、教え子の静夫のマラソンランナーとしての才能に気づき、国際的なランナーに育てようと決意する。しかし、進学に失敗した静夫は、小泉との連絡を絶ってしまった。納得のいかない小泉は、静夫を探し、ゲイバーで働いていることを知る。動揺を隠せない小泉に静夫はある告白をする。

体育教師の小泉は、教え子の静夫のマラソンランナーとしての才能に気づき、国際的なランナーに育てようと決意する。しかし、進学に失敗した静夫は、小泉との連絡を絶ってしまった。納得のいかない小泉は、静夫を探し、ゲイバーで働いていることを知る。動揺を隠せない小泉に静夫はある告白をする。

“Sangen Om Den Eldröda Blomman” ( “Song Of The Scarlet Flower” ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today. 　　The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many frauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von’s seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe “Sangen Om…” as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster. 　　As this German count said before, the film displays Stiller’s characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof ‘s frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller’s other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself. 　　“Sangen Om Den Eldröda Blomman” is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.

のどかな春の一日、若き商業デザイナー河田藤助は散歩の道で、足をいためた源十郎老人に会い、背中に負って送ったが、老人はまるで背負わせてやるのだといわんばかりに、藤助の背で威張っていた。源十郎の家は古い北欧風の洋館だったが、藤助を驚かせたのは源十郎の娘けい子の美しさであった。時代遅れの服装の妙に合う優雅な風情である。源十郎が病院に出かけた後、藤助は再び邸を訪れた。快く迎えるけい子を藤助はあじさいの花の傍で写真に収めた。けい子の母いく子は、昔、夫の会社の若い社員藤村と駈け落ちした。源十郎は以来けい子を外に出さず、家庭教師の葉山先生がけい子の知るただ一人の外来者だった。藤助の出現はけい子になんと感動を与えたことだろう。源十郎と葉山先生の提案で、けい子には島村のり子という若い女子大生の友達も出来た。のり子の兄幸吉も現われた。藤助の写したけい子の写真が「あじさいの歌」と題して展示された時、けい子は会場でその写真を欲しがる中年の男に会い、ふと母親に関係があるのではないかと思った。新聞記者の幸吉は追ったが、男は消えた。のんびり屋の藤助も鋭い幸吉も共にけい子を愛した。のり子は藤助を愛したが、淋しかった。デパートの男はやはり藤村だった。大阪であいまい宿を営むいく子は東京で旅館を経営しようと上京したが、貧血で倒れ、藤助に背負われた。いく子の買おうとした旅館が源十郎の会社のものだったことから、けい子の父と母は再会した。けい子は母親であることを語ったが、いく子は唯友達でいたいという。いく子はけい子の三人の友達に会い、藤助とけい子の間にめばえた美しい青春を祝った。源十郎の洋館が藤助の手で大改造されることになった。源十郎とオールド・ミスの葉山先生のおそい春にも花が咲いた。二度と訪れることもないであろうこの家の庭に立って、いく子は深い思いにふけった。早春の暖い日ざしが古い館の庭に立つすべての人を柔く包んだ。

“Sangen Om Den Eldröda Blomman” ( “Song Of The Scarlet Flower” ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today. 　　The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many frauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von’s seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe “Sangen Om…” as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster. 　　As this German count said before, the film displays Stiller’s characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof ‘s frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller’s other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself. 　　“Sangen Om Den Eldröda Blomman” is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.