秒速5厘米

故事不新鲜了，但是很抓人，但从画面上来说，真的美好的一塌糊涂，每一幕的细节处理的都很棒，一如既往的新海诚。

电影从始至终都弥漫着一种忧伤，13岁的贵树和明理在懵懂中感受到了爱情，然后慢慢渐行渐远，他们放不下，也不想放下，但是又不得不屈服于现实。明理是现实的，所以最后离开了贵树，而贵树，大概只想好好的爱明理，希望她幸福。

Standing at a crossing under the sun,Takaki Tōno stared at the high-speed train before him.It seemed that he had seen a shadowy figure of Akari Shinohara through the train window that flashes, who stood right in front with a pink umbrella.The cherry blossoms were flying indistinctly and slowly, just like the dessert after drinking tea, which tastes sweet in the bitter. 　　That year, Takak was ten. 　　Her lips are warm and soft which nearly melt his heart. Original surprise and subsequent hesitation are succeeded by a feeling of comforting peace. Just like fingers ran gently over the petals, warmth full of my heart. Neither The sound of snow falling from trees nor the whisper of the wind pass by makes the boy open his eyes. It’s the very place where his heart, spirit and all other deepest sentiment live. He believes that even if the long awful time and space, nothing could separate him from this place. 　　That year, Takak was thirteen. 　　The fury of the roar, the towering clouds of water vapor column, even the thunder fires used by gods to tear the canopy could be inferior. Takak keeps looking up at the sky, fascinated, paying no attention to the soreness of his neck and the girl by him who nearly dropped a tear. Oh ,that is a distant journey which has to be told in light years, a lonely journey that will never meet a hydrogen atom. Long enough just like thousands if nights when I’m alone, the Deer Island is as bright as the sky of city with colorful lights while glow-worm light r of phone screen in contrast. Messages without a receiver have not been seen or been heard of, like the sick letter which missed in the cold wind at the year of 13 and words that haven’t been told to the girl who is about to go in a leaving train. 　　That year, Takak was 17. 　　Standing at a crossing under the sun, Takaki Tōno stared at the high-speed train before him.It seemed that he had seen a shadowy figure of Akari Shinohara through the train window that flashes, who stood right in front with a pink umbrella.The cherry blossoms were flying indistinctly and slowly, just like the dessert after drinking tea, which tastes sweet in the bitter. All of this, with how is similar what happened at the year of 13. Not until the airflow lifted up by train disappears, he found nobody in the other side of the crossroad. 　　That year, Takak was 27. 　　That’s the story Xin Haicheng shared with us in A chain stories about distance, which tells the growth of a boy, much like our own memories hidden inside. As Xin said in the interview, we try our best to play the common life and less dramaticism. It also shows the different emotions of the earth ,and the beauty of the world. We record the real scenes with cartridges so as to make it look more realistic. Each of us once was Takak,or Akari more or less. Part of our experience become lively to be Takak and Akari on the screen. 　　The film has a subtitle A chain stories about distanc. Our life inevitably faces distance of time and space and the following distance of emotion. Ruthless time and space will 　　consistently reduce our efforts or possibility on strive to break the distance and when we get used to the distance, we are part of it. After finishing watching the film for the first time, I map the sad feelings into a coincidence,such as Takak ‘s letter taken by the wind,or the untimely train at the end. And combined with the subtitles, we can find that they are all metaphorical carrier for"distance" by Xin. Both the emotion which can only be held by thin writing paper,and meeting that cut off by passing train are paper ships drifting in the long river of time. They can temporarily floating on the surface of the water, toward the distant sea, but eventually will be dispersed in the chaos of the water. 　　We know the fact well, but could do nothing. We want to fight against only find all these efforts are in vain just like Florida’s endless slavery. Thouth we cannot escape from the passage of time, we can remember something. We want to tell people that they arehere, and shouting in the fact that I do here. This is the reason why the film moves us. In front of the problems that cannot be resolved, we have to make such a fantasy to keep living. 　　Maybe living with a speed of five cm per second, I will meet you again.

先来写写杭州的景色。 我有好几次发现杭州美得我不能接受。 有一次去秋游走到曲院风荷，我看见夕阳照在汉白玉上，白的底子上翻滚着红色，而且那是乡下人的红色，他们的红色是掺了毒的。立时就想着溅了血的帛。这对于我来说基本上是致命的感染，而且我的世界里恰恰是没有青霉素的。 还有一次去报名，快走到建国南路的时候接电话，下意识的走到一个花园里，后来挂了电话的时候，我立刻走不动了。我仿佛听见这个城市的动脉在跳动，仿佛摸到所有没有成型的干瘪花朵，我仿佛看见秋天那种特有的暗红的绿色翻江倒海的朝我扑过来，而我站在着巨大变故的中央。眼前青色的运河在阴天的气氛里显得沉闷而有力。就像是我的被逆境几乎掀翻在江水里的姨父，浑身上下都是铜色的腐朽的肌肉。他让我想起布尔什维克，让我看见斗争的姿态和世界是怎样的不合作。人是会变的。每一年他都温顺一些。我又快回家了，我要准备接受他老了这个事实。 回过神来的时候我已经走过了一条街了。杭州的阴天都这么好看。我看见仙蒂雷德的大玻璃幕墙里面透出那种人世间的光辉，趁着刷在天和地的灰白水泥色，就好像所有的褒义词全部镶在那栋大楼里一样：包括正义，和平，还有爱。我快步的走了过去，满肚子的嫉妒和怒火。 我有时候会希望迷失在杭州的一个陌生地方，找不到路，伸手能摸到的只有江南转折的景致。 就是报名那天回来，我又看了一遍［秒速5センチメートル］。 我觉得我已经真的不能再看了，不仅有审美疲劳，这部片子已经明显的开始让我怀疑人生的所有意义。包括八竿子打不着的正义，和平，还有爱。也许不管什么都是这样，你再喜欢的东西都经不起你的反复推敲。我就决定一定要写篇文章，结束了这个梦魇。 有人写了，相濡以沫，不如相忘于江湖。我觉得很好，非常真实。 这个故事唯一的卖点，就在于对于距离的把握。贵树和明里的恋爱，就是折磨人心智，让人胸闷气短的赛跑。穷尽一生，也无法到达终点。 故事开始的时候很普通，游离在画面里外的樱花，淡淡的孩童的对话。“明年再一起看樱花吧！”我喜欢明里读她自己的信，那些画面穿插在贵树的初中的世界里。上课的时候，课本下面压着信纸；体育保健课开着水龙头气喘吁吁，毫不删节地想着明里和她的信；冬天的早晨赶地铁，氤氲的白气和明里的早安......新海诚所有的画面都那么光亮，夹在那些光线里的软绵绵的温柔事儿，比预想的还要有力。 后来他去买新干线的票，穿越关东平原要去见她。路程的中间夹杂了对他们过去的描述，小学相识，泡图书馆，一起回家，中途顺便去快餐店约会一下，沾着番茄汁的薯条拼出个寒武纪的小怪物。很流水，但是很真实，非常非常真实。 11点他下车，走进候车室，发现明里还在里面等他。 两个人踩在松软的雪地里。 “哎，还记得信里那棵樱花树么？” 其实两个人的一生，全部都生长在樱花树里面了。季节变化带来树的变化，抽芽，长叶，开花。而两个人的春天早在上一季的隆冬里，就已经全部绽放完了光彩。我还记得树下那一吻，“我不知道要把明里温热的灵魂带向何方，”“将13年的情感分享给对方，在这之后的下一瞬，是无比的悲伤。” “我明明知道，我们在接下来的日子里无法时刻在彼此身边，我们中间相隔着巨大的空间和时间。”“但是这些不安渐渐消失，剩下的，只有明里温热的双唇。” 也许他从一开始就知道，这将是他一生中最隆重的一段感情，虽然我们都无法为它命名。它比爱情清澈，比友情深入，比亲情浓烈。从那一吻之后，仿佛整个世界都变了模样。以及后来的花掉他六年时间的鹿儿岛，再后来工作回到东京，不管用尽多少力气都是只是为了证明我们与遥遥无期时间和思念的斗争都只能是黔驴技穷和庸人自扰。 最后一话新海诚把感情推向了极致：迫于工作压力并察觉到感情麻木的贵树辞了职，跟前任女友也各分东西。用时间治疗自己。他没有想过，13岁时候那个跟生命一样重要的明里，也由于准备婚礼的原因回到了东京。两个人默默生活。最后，贵树再次走过影片开始时候放学走过开满樱花的的坡道，而长大后的明里就在下一个车站等车。两个人相遇，在铁道口擦肩而过的瞬间都已察觉。“我有种预感，这时候回过头去，对方也一定会回头来看。”就在即将看见彼此的时候，两列车一次穿过。这辆列车会车的时候我觉得他们会认出彼此然后结束。结果，飞驰的列车驶过，迎面砸来的只有樱花，和不见人影的街道。 当时我就流泪了。我知道这才是新海城的高明之处。 最美好的东西往往就是这样的，隔岸观火的时候，你会觉得对面所有的一切都是最好的。而当我们隔着现实的河流，如履薄冰的望向对岸，其实什么都没有。 这就是我给你们写了这么多想要表达的东西，我觉得这是我生下来看过的听过的最好的故事，我觉得它有那么多的颜色，铺开了都能染满我的电脑桌：白色的时候让我微笑，青色的时候让我沉迷，透明的时候又让我流泪。而且这也改变了我执著的怪脾气——我不再一叶障目了，过去一片盖在眼睛上的小树叶就能遮住我的整个夏天，那些小美好过去了就让它们过去。我们留在岁月永恒的河流里，任凭光阴把我们洗刷成温热的鹅卵石。但是我也必须说，这个故事看得我很伤心，有时候我们执着那么久的事情，却往往得不到好结果。只是就算这样，我们还是依然爱着这个世界，以及围绕着它日复一日旋转的残酷现实。