表面上是一套教育電視，按步就班教授如何養蠶取絲，介紹甚麼階段的蠶該吃哪種桑葉，如何移筐，如何判別蠶是否肚餓及成熟，如何上架待其作繭自縛的情況等。由幼蠶長不過汗毛，到肥肥白白可吐絲的實錄過程所產生的趣味，讓片末的村史和家族漂染史都給比下去。 　　片初，養蠶的木村太太面孔朝下，表現羞怯並且不直視攝影機，彷彿不相信自己的手藝能登大雅之堂，到中段逐笑語漸多；而全片最堅定的說話，當數她不卑不亢地透露不放心將工序交托別人，蠶蟲在自己照料下心裡會較踏實──不僅交代了拍攝者和對象之間的關係，更呈現出被拍者流露的表達欲望和自信。小川一直強調紀錄片也有「戲」，《牧野物語‧養蠶篇》乃其紀錄片方法學一次輕巧但有力的示範。

表面上是一套教育電視，按步就班教授如何養蠶取絲，介紹甚麼階段的蠶該吃哪種桑葉，如何移筐，如何判別蠶是否肚餓及成熟，如何上架待其作繭自縛的情況等。由幼蠶長不過汗毛，到肥肥白白可吐絲的實錄過程所產生的趣味，讓片末的村史和家族漂染史都給比下去。 　　片初，養蠶的木村太太面孔朝下，表現羞怯並且不直視攝影機，彷彿不相信自己的手藝能登大雅之堂，到中段逐笑語漸多；而全片最堅定的說話，當數她不卑不亢地透露不放心將工序交托別人，蠶蟲在自己照料下心裡會較踏實──不僅交代了拍攝者和對象之間的關係，更呈現出被拍者流露的表達欲望和自信。小川一直強調紀錄片也有「戲」，《牧野物語‧養蠶篇》乃其紀錄片方法學一次輕巧但有力的示範。

An international co-production depicting the woes and aspirations of Japan’s working poor, set in Yamagata and directed by an Englishman. Through charming and sincere revelations about his own life, he asks simple questions about Japan’s dark realities as an industrial power as he builds on friendships and changes relationships.

An international co-production depicting the woes and aspirations of Japan’s working poor, set in Yamagata and directed by an Englishman. Through charming and sincere revelations about his own life, he asks simple questions about Japan’s dark realities as an industrial power as he builds on friendships and changes relationships.

女人是什么？嫉妒和博爱的综合体，美丽和恐怖的双生儿化身。男人绞尽脑汁仍无法参透这些与自己相伴几千年的尤物。他们因此害怕，却又对之无法抗拒，个中心理，怪哉怪哉。 　　导演武智铁二和小林悟走访日本各个角落，拍摄从事各种职业的女性，包括：能乐舞者、游乐会拳击手、酒女、抛头露面表演的僧尼、色情杂志模特、女扮男装的剑戟师、男扮女装的异装癖、艺妓、夜总会舞者、盲人按摩师、吸毒者、普通手工业者……影片并未深入探讨女性和男性纠缠不清的莫测关系，只是通过白描的手法和戏谑的讲解向观者展示了一幅现代女性和社会的风情画。

We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. 　　The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. 　　This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie