A meaningless banality A guy named Kotaro meets a girl named Chloe at his aunt’s exhibition. At first, an awkward conversation begins about nothing, it seems that the couple has nothing to say to each other. However, over time, they realize that they cannot do without each other. They fall in love crazy. However, happiness is overshadowed by a strange and mysterious disease of Chloe - buds of flowers bloom in her lungs. It is known that if such a patient is placed in a room with flowers, the progression of the disease can be delayed. Now Kotaro works hard only to buy flowers for his lover.
The film “Chloe” strikes with its meaninglessness in the depiction of feelings. Even the presence of the outstanding, in my opinion, director Shinji Aoyama in the role of a cult artist does not save the tape. Chloe and Kotaro talk about how they love each other, without giving rise to, so to speak, entities. This tedious naked fixation of the feeling by its banal pronunciation, not placed in any context, is simply unearthly boredom. If you watch this film, having in your head some own unrelated to the film thought, you soon find that the thread of what is happening on the screen you have long lost, and think just this idea of your own. The annotation says that Kotaro strives to fill Chloe’s life with unearthly beauty. What is this beauty? In "Chloe" there is not even a pronounced visual style. Everything was very faint, conflict-free, and the lack of tension does not mean ease, which is not here either. Everything is placed in the standing water of murky feeling. There is no doubt that it is pure and sincere, but it must be taken on faith. The melodramatic outpourings from which this follows are shown without the author's handwriting. Everything is somehow very standard, worn out and drawn out. From the words of the main characters, one cannot draw a conclusion about their personalities. Hence the feeling of one-dimensionality, stemming from their excessive fixation on love for each other. In general, when you look at this couple, lying on a bed surrounded by flowers, you do not feel a sense of belonging to the subtle world of floating details, gestures and images, as it was, for example, in the early works of Wong Kar-Wai. When you look at them, there is another feeling – the writer’s inability to come up with original dialogues, and the director’s inability to give the story scope by visual means. After watching this movie, there is literally nothing left in my head.
3 out of 10