"With the second film in the series – The Stairway to the Distant Past – it becomes clear that Hayashi is not content to ride on his past successes, is not willing to let his character stagnate. There are some major tonal shifts in this film that may surprise those who simply wanted more of what The Most Terrible Time served up, most notably the move away from black and white and into color photography and a general absence of the playful mood of the first. This one becomes much more serious in very short order. 　　Gang tensions are again running high in Yokohama. Hama’s business is bad, his car has been repossessed and – most troubling – his long absent mother has returned to town, threatening to upset the life Hama has built for himself and the younger sister he has raised since they were abandoned in childhood. When a crooked cop leans on Hama to investigate a series of robberies on the riverfront – an area ruled with an iron fist by the mysterious Man In White – Hama has no choice but to cooperate and take on the dangerous job. After all, if the cops shut him down who will take care of his sister? And it’s not like he can afford to pay the bills with the lost pet jobs he’s been taking, anyway …" - Twitch Review

在西南某村庄一直流传着瓦湾狮舞，由湖广填四川的孙氏家族传承至今，已有近四百年的历史，它是一部记录湖广移民远离故土，在巴山蜀水间繁衍生息的活态史书。直至上世纪九十年代初，舞狮队长孙富贵带领唱段外来女婿黄世荣。两人在经历舞狮的一次次表演后，随着时代的变迁，舞狮即将面临退出历史舞台。在接下来的日子里，富贵隐藏着自己的情绪，世荣的离开，更是褪去了舞狮人的命运和结局。最终通过富贵不懈努力为舞狮留下传承烙印和记忆符号。 　　影像中所有人物都有各自的命运和结局，就像是一首诗，在舞狮队剧情里的人物，我都把他们当做是影像诗人，这种安排和设计，为的就是能够让观众自己去解读和悟。过去代表着舞狮的文化，也是代表着一个时代的见证， 其中的真谛，特别是像现在90后和00后生活越来越好，但关于过去的记忆很多都是空白。拍摄这部影片最终的目的，就是为了唤起我们父辈过去生活的记忆，让年轻一代的朋友了解过去更多的文化，从中得到的是理解和传承。

一位最近丧偶的儿童心理学家会见了他的下一位客户，这位客户似乎以某种方式与他的过去有关。

一位最近丧偶的儿童心理学家会见了他的下一位客户，这位客户似乎以某种方式与他的过去有关。

After his girlfriend is kidnapped by a satanic trio of escaped mental patients, a young man must rescue her from a Hollywood home before their sadistic plans can be realized.

《过去的完美》是一部借用、传播和重组思想的电影：一系列相关的图像和想象的对话贯穿了几个世纪直到今天。哪里可以让人悲伤，哪里可以让人悲伤？电影制作人乔尔吉·科姆创造了一个忧郁的地理环境。“信仰和勇气使你自己/神不伸出援助之手/只有魔法力量/你才能到达魔法之地！从1801年起，弗里德里希·席勒在他的诗《Sehnsucht》（《渴望》）中写道。四年后，这位诗人去世，并与画家保罗·克莱（Paul Klee）所说的“另一个”（Other）相交，后者声称自己比想象中的“这里”（here）更接近。沃尔特·本杰明多年来一直带着克莱的《安杰鲁斯·诺维斯》，甚至流亡国外。后来他写了一篇关于这幅画的文章：“这就是人们如何描绘历史的天使。（……）但是一场风暴正从天堂吹来；它以如此强烈的力量夹在他的翅膀里，以至于天使再也无法关闭它们。暴风雨不可抗拒地把他推进了他背朝的未来，而他面前的一堆残骸则向上生长。这场风暴就是我们所说的进步。 　　Past Perfect is a film that borrows, transmits and recomposes thoughts: an associative chain of images and an imaginary dialogue across the centuries until today. Where is one permitted to be sad, where does sadness have its place? Filmmaker Jorge Jácome creates a geography of melancholy. ‘Faith and courage make thine own/Gods ne’er lend a helping-hand/’Tis by magic power alone/Thou canst reach the magic land!’, wrote Friedrich Schiller in his poem ‘Sehnsucht’ (‘Longing’) from 1801. Four years later the poet dies and crosses over to the ‘Other’, of which the painter Paul Klee proclaims he is closer to than the supposed ‘Here’. Walter Benjamin carried Klee's ‘Angelus Novus’ with him for many years, even into exile. Later he wrote about the painting: ‘This is how one pictures the angel of history. (…) But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.’

一位最近丧偶的儿童心理学家会见了他的下一位客户，这位客户似乎以某种方式与他的过去有关。

《过去的完美》是一部借用、传播和重组思想的电影：一系列相关的图像和想象的对话贯穿了几个世纪直到今天。哪里可以让人悲伤，哪里可以让人悲伤？电影制作人乔尔吉·科姆创造了一个忧郁的地理环境。“信仰和勇气使你自己/神不伸出援助之手/只有魔法力量/你才能到达魔法之地！从1801年起，弗里德里希·席勒在他的诗《Sehnsucht》（《渴望》）中写道。四年后，这位诗人去世，并与画家保罗·克莱（Paul Klee）所说的“另一个”（Other）相交，后者声称自己比想象中的“这里”（here）更接近。沃尔特·本杰明多年来一直带着克莱的《安杰鲁斯·诺维斯》，甚至流亡国外。后来他写了一篇关于这幅画的文章：“这就是人们如何描绘历史的天使。（……）但是一场风暴正从天堂吹来；它以如此强烈的力量夹在他的翅膀里，以至于天使再也无法关闭它们。暴风雨不可抗拒地把他推进了他背朝的未来，而他面前的一堆残骸则向上生长。这场风暴就是我们所说的进步。 　　Past Perfect is a film that borrows, transmits and recomposes thoughts: an associative chain of images and an imaginary dialogue across the centuries until today. Where is one permitted to be sad, where does sadness have its place? Filmmaker Jorge Jácome creates a geography of melancholy. ‘Faith and courage make thine own/Gods ne’er lend a helping-hand/’Tis by magic power alone/Thou canst reach the magic land!’, wrote Friedrich Schiller in his poem ‘Sehnsucht’ (‘Longing’) from 1801. Four years later the poet dies and crosses over to the ‘Other’, of which the painter Paul Klee proclaims he is closer to than the supposed ‘Here’. Walter Benjamin carried Klee's ‘Angelus Novus’ with him for many years, even into exile. Later he wrote about the painting: ‘This is how one pictures the angel of history. (…) But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.’

这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。