Download Film Under The Cherry Blossoms [BEST]

Spring has arrived! The cherry trees are starting to bloom again around the National Mall and Potomac Park in Washington, D.C. In Japan, cherry blossoms are called sakura, a special flower for the people and the country.

Even at night, viewing spots are crowded with people enjoying the blossoms in a beautiful, romantic atmosphere. Couples go at night to enjoy the special mood created by cherry blossoms. Hanami at night is called yozakura.

Download Film Under The Cherry Blossoms

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While American schools begin in the fall, the Japanese fiscal and school year begins in April, the season of sakura. We feel like the fully bloomed cherry blossoms are celebrating and welcoming our brand-new start. Many schools and companies have cherry trees outside of them. This is why Japanese people have special feelings for the cherry blossoms.

I have lovely memories from when I was young, doing hanami with my parents, brother, and sister. My mom packed a special lunch box, hanami bento, full of our favorite foods. My father was in charge of securing a good place for us at the famous park by placing a blanket under the cherry trees in the early morning.

Now I like to go to hanami with a few of my close friends just to enjoy the cherry blossoms, but if I go with a lot of friends or a group of colleagues, it mostly means having a party with lots of eating and drinking.

Naomi Kawase is a filmmaker closely associated with rapturous depictions of nature. Her 2015 film Sweet Bean expresses the pleasures of transience, as evoked in the gentle presence of cherry blossoms. These colour the world with joy and beauty yet fall just as quickly as they bloom.

Evoking the themes of the title, the cherry blossoms of Eros + Massacre become potent symbols of the doomed loved of the feminist Noe Ito and the anarchist Sakae Osugi. Equally, however, they suggest the frustrated revolutions they will ultimately fail to enact.

I may have over-played some elements of 1917; I may have underplayed or missed others. However, my working thesis is that there is a trail of meaning in 1917, and few have found it. This trail is hidden in plain sight in 1917, but it is there. Without knowing the worldview of the creative team, I can say as a theologian that the consideration of higher reality in 1917 is at the very least richly consonant with many themes of Christian doctrine. We find in this film an enchanted view of creation, a bracingly honest grappling with pervasive depravity, and a soaring exploration of redemption. We also receive a brief if powerful answer to the problem of evil, no glancing matter.

After Schofield is slowly awakened by the blossoms, he weeps. The weight upon him is terrible. His burden is great. But driven by his mission, he forges on, as the camera of Roger Deakins, the spellbinding cinematographer of this film, lingers on the cherry tree in the background. (Deakins does this throughout the film with numerous trees.) The leaves of the cherry trees have revived Schofield, a detail of no small import, I sense.

Back to the matter at hand. In returning to this movie recently, I made a fresh\u2014and unsettling\u2014discovery: my earlier work missed, underplayed, or failed to do justice to numerous dimensions of the film\u2019s story and especially its broader message. At least, this is my own suspicion. All that follows is\u2014I stress this at pains\u2014supposition. I do not know Mendes or screenwriter Krysty Wilson-Cairns, I have no point of contact with them, and my musings below, filtered through my own distinctly Reformed theology, are my own.

Scene One: Resting on a Tree

The movie begins with a shot of a single lush tree, branches heavy with green. At the outset, knowing what comes later, we cannot help but wonder if we are looking at Mendes\u2019s conception of the paradisical tree of life. The tree is far off, a little fuzzy, but somehow seems alive, a living thing. I surmise that this not a mere staging shot. This tree matters. As I put things together as best I can, I believe that this tree is in fact the heart of the entire film. At the risk of sounding silly, I don\u2019t think the tree is just a tree. At minimum, trees in 1917 symbolize rest and peace. But I wonder if this is too weak. Perhaps the tree signals a world beyond our own. Even greater still, perhaps trees stand in for God himself. It is not easy to say, for Mendes does not tell us directly. He leaves things undefined, teasing us, or more accurately, beckoning us to keep our eyes on the trees, striving to understand them.

The cherry grove scene is all too brief. Taking us as high we can go, into the very wisdom of the counsel of God, it gives way to one of the most horrifying scenes I\u2019ve witnessed in decades of watching films. Having sampled the hope of beauty, now we confront the specter of death.

It is at just this time, with his strength at an absolute ebb and the light nearly gone from his eyes, that cherry blossoms from a single nearby tree land on him and around him. The tree\u2014shedding blossoms like snow as Blake said\u2014brings him back from the grave. Without drawing the lines too tight, this beautiful moment reminds me of one of my favorite texts in Scripture, Revelation 22:1-2. In the New Jerusalem, John tells us he saw the following:

On the side of the river rests the tree of life. The tree of life has twelve variations of fruit, and it bursts without fail with its product, a living product. But not only this: its leaves, in an unexplained and unexposited way, heal the nations. Here is food for the starving, and healing for the dying. Here is rest for the weary traveler\u2014rest in the presence of a tree. In the film, the leaves of the cherry tree awaken Schofield, and thus seem to heal him in that sense.

But at the film\u2019s end, as he finally rests, Schofield has not only survived. He has rediscovered meaning, the meaning of life. His back against a tall tree, Schofield finally allows himself to look at two pictures of his family. On the back of one reads a note from his wife: \u201CCome back to us.\u201D The film closes with this, leaving us with the hope that Schofield will indeed return home. The world, though twice-shaken and nearly overrun, will hold. Light has come into the darkness, but the darkness has not overcome it. A great disease has spread across the land, but healthy trees still grow, and cherry blossoms still land gently on the ground.

The impermanence of life is at the core of Cherry Blossoms, an exquisite German film directed by Doris Dorrie (How to Cook Your Life). A wonderful sequence in the story takes place during the cherry blossom season at the beginning of spring in Japan. Hanami is celebrated for about ten days as families, friends, and visitors gather under trees while their pink and white flowers are in full bloom. The cherry blossom is seen as a symbol of beauty, awakening, and the transience of life. In a haiku, Issa has written:

"In the cherry blossoms' shade

There is no such thing as a stranger."

Dorie Dorrie is a spiritually sensitive German film director who has made a remarkable and touching film about impermanence, death, grief, and the healing power of creativity. With a Zen appreciation of small details, this drama is peppered with magical cinematic moments involving water, mountains, dandelions, flies, and cherry blossoms. The story of Rudi's spiritual journey to Japan unfolds slowly, and we are able to sense the courage it takes for him to make such a trip in order to commune in a very real way with Trudi. Karl, who has never been close to his father, spends a lot of time at work. He misses his mother and like Rudi regrets that he wasn't more attentive to her.

Rudi is delighted to be in Tokyo during Hanami, cherry blossom time. In an interview the filmmaker Dorrie states:

"One has to give love a chance to reveal itself in its greatest pain and strength. That's why the Japanese sit under the cherry blossoms, because they are tremendously beautiful when they are blooming. At the same time the pain over the fact that this period of blossoming is short-lived is tremendous as well. One has to catch the moment when they are actually blossoming, that's why they have people monitoring the trees. Because, if you miss that particular moment, that's it, for an entire year or possibly forever. In love, one has to keep at it, one has to give it the chance to blossom and, when it does, one has to actually be there to appreciate it. That's what it's all about; that each person, each plant, each animal is granted a moment when it can truly blossom and reveal itself. But what often happens to us, and to Rudi, is that we just keep suppressing it. We never allow our true self and our true beauty to reveal itself, to blossom like the cherry tree does." 006ab0faaa