'Godzilla Minus One' tiến vào lãnh thổ 'Oppenheimer'

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“Godzilla Minus One” was billed (quảng cáo) as an action spectacle (hoành tráng), but the Japanese film is largely a meditation (suy ngẫm) on sorrow (đau buồn) and survival in the wake of World War II. Esther Zuckerman notes that the film establishes a conversation with Hayao Miyazaki’s “The Boy and the Heron” and Christopher Nolan’s “Oppenheimer.”

Like Godzilla, “The Boy and the Heron” relies on (dựa vào) the fantastical (kỳ ảo) to impart (truyền đạt) messy, human truths about trauma (chấn thương) and memory. Both films, in their way, touch on the Japanese perspective on surviving brutal (tàn bạo) destruction, a perspective that’s absent (không có) in “Oppenheimer,” which documents the invention of the atomic bomb.

“Just as ‘Oppenheimer’ is an example of the West still wrestling (vật lộn) with its responsibility for destruction during World War II,” Esther writes, “Japan is doing the same, but in its versions, the monsters are not all of the human variety.”

source: nytimes,