秒速五厘米英文版电影

A. 秒速五厘米英文简介

Shinkai Makoto is a real visionary. His ability to construct such rich and detailed artistic presentations is phenomenal. Anime has several directors that are talented and evidently passionate about constructing a stimulating visual effort pulsating with detail and motion and irregular, yet controlled camera movements that keep the audience on their toes, including Ishihara Tatsuya, Shinbo Akiyuki, Satoshi Kon and, of course, Miyazaki Hayao, but I’d willingly make the argument that none has the ability to manipulate complex and dynamic interactions of light and shadow, reflection, colour and bloom as perfectly as Shinkai does. It’s not that Shinkai creates perfectly realistic visual environments; he’s more than willing to take artistic liberties with the laws of physics if it means enhancing the atmosphere or subtly pushing a visual motif. Specular reflections may have the intensity of laser light, and the reflection from a rear view mirror will focus exactly onto the camera from several hundred meters away. Strands of grass dance independently in the wind and the distant sea shimmers like a starry night. Shinkai’s works have backgrounds that are alive.

It’s easy enough to wax on and on about how good the art and animation in 5 Centimeters Per Second is, and while it is an achievement worthy of a massive amount of acclaim, what ultimately defines a film is its story. And while I was left in awe at the artistic component of 5 Centimeters Per Second, the story-telling isn’t quite on the same level as the visuals. Shinkai again deals with what appear to be his pet themes of distance between love and coping with separation, but does so this time without introcing a prominent sci-fi element as was the case with Voices of a Distant Star and The Place Promised in Our Early Days. 5 Centimeters Per Second is divided into three chapters, each analyzing the relationship between the two leads at different points of their lives. The problem is that the latter two chapters simply aren’t as absorbing and touching as the first, which shows a heart-warming and tender display of love almost guaranteed to move almost anyone inclined towards anime romances. The second chapter lacks the emotional impact of the first, even though it does provide some intriguing character analyses, but the third chapter is uncharacteristically cynical and pessimistic from Shinkai.

While the change in tone is jarring, this I’m not opposed to in itself, since it avoids the cliches of the “Pure Love” genre. What I didn’t approve of was the fact that the ending offered no real resolution. There’s simply no solid denouement; the film shows a montage (which is, in my opinion, one of the laziest story-telling techniques in cinema) and then cuts to the credits.

5 Centimeters Per Second is worth watching for the art alone. But, to add a bit of cake to the icing, the first chapter is also outstanding, presenting a touching and innocent romance filled with powerful gestures and heart-warming moments. Unfortunately, the highlight of the film is over after twenty-five minutes, and the story slowly becomes less and less emotionally engaging, ultimately leading to a disappointing non-ending. This is still better than most other anime you’ll see this year, but don’t let the Shinkai-hype overwhelm you; this isn’t his best work and he’s not as good at crafting a story as Miyazaki… just yet.

2
Takaki and Akari attended elementary school together, where a mutual interest in the library led them to become good friends. Their parents' work situation ultimately foiled their plans to attend the same middle school, but they kept in contact by mail. One snowy night, shortly before another move takes him too far away for an easy visit, Takaki hops on a train to visit Akari one last time. Years later, in high school on Kagoshima, a girl named Kanae finds herself smitten with archery-minded Takaki, but her struggles to summon enough courage to confess her feelings are mirrored by her difficulty properly catching a wave in her surfing hobby. And it always seems like Takaki is messaging someone. . . Further years pass and Takaki finds himself working in Tokyo, where a chance encounter just might change his life.

Makoto Shinkai has been hailed by some as “the next Miyazaki,” but such praise is premature at best and hyperbole at worst. While this newest project confirms the remarkable talent he displayed in his previous efforts, he has yet to show any range or variety. Like Voices of a Distant Star and Place Promised in Our Earlier Days (and, for that matter, his first short She and Her Cat, too), Five Centimeters Per Second is a story about longing, about the isolating feeling of loneliness and the desire to make and maintain connections. But though it may not differ much in style, tone, sound, or look from his other proctions, you will not find another anime director better at hitting just the right note, and using just the right combination of lines and visuals, to much such stories work.

Shinkai's previous projects have shown that his storytelling style is best-suited to shorter, more intimate works, so he tackles this 62-minute feature by breaking it down into three sequential parts showing chief protagonist Takaki at different stages of his life; the first in middle school, the second in high school, and the third as an alt. The first part, with Takaki striving to meet Akari despite weather that seems determined to thwart him, is the strongest and the one most able to stand on its own. It offers such a beautiful and delicate look at the development and exercise of young love that it can appeal to a viewer's emotions without being sappy. The second part, where Takaki becomes a supporting character while the focus falls on Kanae, is more an exercise in unrequited love, with an unusual (and in some senses unsettling) twist late in its run. The third and by far shortest piece, where Takaki splits feature time with Akari, has a “moving forward with your lives” element to it and is the part least likely to match with viewer expectations.

Taken indivially, the parts offer nice little vignettes, but taken as a whole they paint a broader picture about the progression of life and love. The ending, which is where this work differs most from Shinkai's previous efforts, will doubtless be controversial and may leave some fans unsatisfied, as it opens itself to multiple interpretations. Some may feel as if it just ends without resolving anything, but if one considers Takaki's few lines of narration in part two, how that part ends, and how everything fits together, it becomes clearer that actually resolving things was never the point. Whereas Voices was about trying to maintain a connection and Place Promised was about reestablishing one, Five Centimeters is ultimately about moving on from past connections instead of just living in the past, about finding a way to become happy in the present rather than just pining for what has been lost over time. In that sense Five Centimeters is Shinkai's most mature and complicated work yet.

As with Place Promised, Shinkai was directly involved in nearly every aspect of this proction, which leaves his stamp on this work as indelibly as Miyazaki does on any of his movies. (This is the one place where comparisons between the two are justifiable.) All of the elements seen in his previous works are here: extensive use of in-character narration, nearly photorealistic recreations of actual real-world settings, impressive use of lighting effects, scene selections chosen with an eye to establishing and enhancing mood, occasionally dazzling vistas, and carefully-crafted, precisely-worded dialog which avoids any extraneous comment and invariably contributes to the overall feel of the work. Striking, as always, is his vivid use of color, although it seems a bit brighter and glossier here than in his previous work. His character designs have improved markedly since his work on Voices but are still the weak point of the artistry, as is the character animation; scenes of moving clouds and vehicles, blowing snow and grass, crossing gates, even birds – really, he excels in animating everything except people, and his scene selections strongly suggest that he realizes that.

Tenmon, the artist who did the music for Voices, returns for this project, and indeed his score for the first part is only a minor stylistic variation on the light piano numbers used in Voices. Large sections of the second part pass without any score, and the bits that do have it offer a similar blend of poignant, low-key piano numbers mixed with light orchestration. Part 3 lacks a score until the background song “One More Time, One More Chance” takes over; though it may be a little too loud, it fits quite well in both lyrics and tone. The proction also excels in its use of sound effects, especially in the bow-shooting scenes in Part 2.

The Japanese b uses a different seiyuu for Akari between Parts 1 and 3, while the English b uses Hilary Haag passably well at both ages. David Matranga, as Takaki, strains a bit when attempting to voice a very young version of his character but otherwise does a fine job, and Serena Varghese hits the mark just right as Kanae. Because so much of the dialog is narration, the English script varies very little from the subtitles, although in many places the English spoken lines and Japanese spoken lines have somewhat different timing. (This is not easily noticeable unless you listen to the English b with the subtitles on, however.)

Amongst the Extras on the disc are a photo montage of setting scouting for the movie that can make a viewer appreciate exactly how accurately detailed some of the background animation really is. Also included are two interviews: one with Shinkai and the other with members of the Japanese cast. Although ADV's proction lists the three parts as if they were episodes on the menu, it uses no chapter breaks within a part.

The question that will inevitably get asked is where this work stands compared to Shinkai's previous efforts. It is his best effort to date, or his worst? The answer depends heavily on what you are expecting to get out of it. Evaluated purely on technical merits, the overall artistry is a very slight step down from Place Promised, but the timing and pacing of its storytelling is better. It has better character designs and more complexity than Voices, but not as broad an appeal nor as poignant and heartfelt an ending. It achieves the same degree of elegance and eloquence in storytelling, so the decision largely comes down to a matter of personal preference. From this reviewer's perspective, Voices is the true masterpiece of the lot, but this one works just fine, as long as you can come to terms with the ending.

3
Tohno Takaki and Shinohara Akari are two classmates in an elementary school. During their time together they have become close friends. Their relationship is tested when Akari transfers to another city because of her parents' jobs. Both of them struggle to keep their friendship alive as time and distance slowly pulls them apart. When Takaki finds out that he is moving farther away, he decides to visit Akari one last time.

The movie is a collection of three stories; the first episode, Oukashou, shows the day of their reunion. The next episode, Cosmonaut, follows the story about Takaki after the reunion takes place from the viewpoint of another person. The last episode, Byousoku 5 Centimeter, clips out the movements of their thoughts.

4
"5 Centimeters Per Second" is a one hour Japanese animated feature film with drama and romance. This movie looks to be pure drama as it revolves around several characters. There is no fantasy or science fiction present as it looks to present the actual world from a different perspective.

This movie is to be a perspective of everyday life through the eyes of director and writer Makoto Shinkai. The name comes from the cherry blossom which is a national symbol of Japan. The rate in which a petal falls from a cherry blossom tree is five centimeters per second. It looks to be the most realistic and humanistic animated movie that I have ever seen.

Mainly, all of the segments focus on a boy named Takaki Tono. The three episodes that make up the movie are labeled as: "Okasho" which is Cherry Blssom Extract in Japanese, "Cosmonaut", and "Byosoku Centimeter." Each section details the life of Takaki at different points. The first section takes place around 1990 where Takaki had graated from elementary school as he and his close friend Akari Shinohara have drifted apart. Akari moved because her parents had gotten a job transfer. Akari goes to middle school in Tokyo.

5 Centimeters Per Second details Takaki's life as he has to move very often e to his parents' jobs. This makes it hard for a person to make friends let alone get into a relationship. In short, it shows that you really cannot have a steady personal life if your parents are moving to another place for a year and then move somewhere else for another year.

5
For quite some time now those in the know have been declaring Makoto Shinkai the next Hayao Miyazaki. Starting with short films animated purely by himself on his home computer Shinkai has steadily built a fiercely loyal following around the globe, his fans drawn by his clean lines, attention to detail and willingness to let his character's breathe. Shinkai, like Miyazaki, is one of those very rare film makers - even more rare in the animation world - who understands that less can often be more, that the quiet moments often tell us more than any amount of action or dialog ever could, and he has an uncanny knack for capturing the pregnant pauses that open the souls of his characters. While Shinkai's latest, a triptych of interconnected stories titled 5 Centimeters Per Second, does not quite raise him to the current level of the great master it definitely represents a huge step forward and is exactly the sort of film that you would expect to come out of Miyazaki's Studio Ghibli on one of their better days. Yes, though the film has its weaknesses, Shinkai really is that good.

5 Centimeters Per Second - named for the speed at which cherry blossoms fall to the ground - is made up of three stories surrounding Takaki, a Japanese boy, at three different stages of his life. We meet him when he is young, just in junior high and coping with the departure of Akari - his closest friend, a girl for whom he has developed feelings he cannot express - the year before while also preparing for his own move away from Tokyo and to a remoter part of the country. We then move to Takaki at the final stages of high school, preparing to move on to the next stage of his life and completely, blissfully ignorant of the feelings Kanae, a girl in his class has for him. Finally, we meet Takaki again as a young alt, twenty six and giving in to disillusionment.

The first two segments of the film - titled Cherry Blossom Story and Cosmonaut, respectively, provide the real meat to the affair with the final section, 5 Centimeters Per Second, feeling sadly like a perfunctory and unfinished coda. The closing act leaves you wishing that it had been something more but for the first two acts - self contained shorts, both of them - Shinkai proves to be pure gold. His animation is stunning, beautifully detailed and impeccably framed with Shinkai showing a masterful ability to mirror the emotion of his human players in his shot selections and pacing. His characters ring startlingly true, the emotional core so strong, their relationships sketched out so simply yet effectively that it could be used as a textbook example of how to show an audience your characters while actually telling them very little. Cherry Blossom Story, in particular, also shows a remarkable grasp of the editing process, Shinkai nimbly cutting between perspectives and time periods to gracefully sketch out the relationship between Takaki and Akari.

Through the first two segments of the film Shinkai's grasp is remarkable he manages the difficult feat of capturing both the flush and excitement of young love along with the nervousness and fear that it brings all the while shooting it through with the sort of wistful melancholy that comes from knowing that you can never have what you most want. It's a complex bit of work that Shinkai makes seem simple and effortless and that, in and of itself, is the mark of a true master storyteller. The final third, however, feels only half done. Akari is engaged to marry someone else and seems a little apprehensive, Takaki is aimless and drinks too much unsure of his place in the world and purpose in life. Shinkai sets this segment up very well indeed and seems poised to go some interesting, challenging and unexpected places with his characters but then, inexplicably, he opts to instead cut it into a flashback laden romantic music video. Literally. It's a bizarre decision that really takes the heart out of this section but the first two segments are so flawlessly strong that the overall experience is still a very strong success. Keep an eye on Shinkai, he is poised to become a true giant in the animation world in the very near future.

6
http://www.midnighteye.com/reviews/5-centimeters-per-second.shtml

7
With 5 Centimeters per Second, Shinkai Makoto has polished the elements that made his previous anime so heartbreakingly poignant and proced a wonderful work. If the film did not have a disappointing third arc, this would be his best work thus far and probably the best of the year.

5 cm’s story will feel warmly familiar to those who have already had the pleasure of watching the director’s work. Makoto is still very much obsessed with capturing the sheer, unrivaled beauty of an impossible love. No matter how cruelly fate intervenes, his protagonists cling desperately and determinedly to their love, as if it were a lone piece of driftwood amidst an angry and roiling ocean. These themes are no less powerful here than they were when Makoto first explored them, and should strike a chord in all but the most hyperactive viewers.

While 5 cm foregoes the science-fiction elements that Makoto is usually known for, the down-to-earth, slice-of-life story is never boring. If Makoto’s first two major stories had anything wrong with them at all, it was that Voices of a Distant Star was too simplistic and The Place Promised in Our Early Days had too much excess baggage. In 5 cm, however, Makoto finds the perfect mix; the film manages to be wonderfully rich without having a trace of unnecessary plotting. For the first two parts of the film, 5 cm meets and even exceeds Makoto’s former material.

Only the third and decidedly imperfect act prevents me from scoring 5 cm as highly as Makoto’s first two works. Sadly, I can’t help but believe that Makoto ran out of either time or funding, because the final arc is rushed and sloppy. For one, the episode makes a key mistake of introcing a new character and then doing almost nothing with her. Even more disastrously, the haphazard pacing actually serves to undermine the message that I think Makoto is going for. As a result, the final proct feels positively amputated.

As a whole, however, 5 cm is still a heartrendingly powerful work. As Makoto continues to release these somber masterpieces, the fact that they must be partially autobiographical becomes increasingly clear. Makoto’s raw and heartbreaking material feels so personal and intimate that he could only be drawing from his own bittersweet memory.

B. 秒速五厘米感人台词对白爱情电影英文独白

秒速五厘米感人台词(一)

听说秒速是5厘米

嗯?什么?

樱花瓣下落的速度

每秒钟5厘米

秒速五厘米感人台词(二)

我要用什么样的速度，才能与你相遇

秒速五厘米感人台词(三)

我一直在找寻你的踪迹

对面的房子 小巷深处的门边

虽然明知你不可能在那里

若能实现愿望的话 我想马上飞到你身边

我一直在找寻你的踪迹

在四岔路口 在梦中

虽然明知你不可能在那里

如果能发生奇迹的话 我想马上见到你

我一直在找寻你的踪迹

在明亮的大街 那樱花街上

虽然明知道你不会来这样的地方

如果能有奇迹的话 我想马上见到你

我一直在找寻你的踪迹

周围的小店 抑或是报纸的一角

虽然明知那里不会有

如果能发生奇迹的话 我想马上见到你

我一直在找寻你的笑容

等电车时的空隙 看看铁路的拐角

虽说她根本不可能出现在那里

如果还有来生 我无论如何都要来到你身边

我已经没有了其他想要追求的东西

因为没有比你更重要的了

秒速五厘米感人台词(四)

贵树同学

要是明年也能一起赏樱花就好了

秒速五厘米感人台词(五)

远野贵树敬启

许久未曾与你联络

虽然我们这里的夏天也很炎热

但跟东京比起来 感觉舒服多了

不过现在想想

我也很喜欢东京闷热的夏季

好似要溶化了一般的柏油路

透过闷热空气望见的高楼大厦

还有像便利店和地铁站里凉到发冷的冷气

我们最后见面 是在小学的毕业典礼上吧

如今已经过去了半年

秒速五厘米感人台词(六)

喂 贵树同学

你还记得我嘛

前略 致贵树同学

感谢你的回信 我很开心

已是深秋

这里的枫叶很美

前天 我把今年先要穿的毛衣拿出来了

最近有社团活动 早上都起得很早

这封信是在电车里写的

前阵子把头发剪了

短到露出了耳朵

要是见面了 你也许都认不出我了

前略 贵树同学

能在3月4日的见面 我真的很开心

已经1年多没有见面了呢

总觉得很紧张

我家附近 有一棵很大的樱花树

到了春天 那边的樱花大概

也会以每秒五厘米的速度飘落吧

我想要是春天能和贵树同学一起赏花就好了……

原野桂树：

我深知，这之后我们无法一直守在一起，挡在我们面前的是巨大庞然的人生，阻隔在我们中间的是广阔无际的时间，令我们无能为力

那一瞬间，我似乎明白了，永恒，心灵，灵魂这些东西究竟存于何处。突然间我有种错觉，仿佛在和明里一起分享了自己十三年来的点点滴滴。紧接着，下一刻，我觉得极其难受，因为我已经不知道，该如何去珍惜明里的那份温存，那份情意，该将它们带向何处。我深知，这以后的将来，我们不可能一起走过。对于命途多舛的人生，以及渺茫的时间，阻挡在我们之间这一事实，我们无可奈何。可是，笼罩着我的那份不安，渐渐消逝了，余下的，就只有明里双唇留下的温存……

明里：

樱花下落的速度，依旧是秒速五厘米。而不论我们之间通过千条短信，我们之间的距离也不会拉近一厘米……

那一瞬间 感觉自己似乎明白了所谓永远 心灵 还有灵魂的所在之处就像是同对方分享了自己这十三年的全部人生一般 而接下来的瞬间变得无比悲伤

我强烈的感觉到 现在 回过头去的话 对方一定也会回过头来

我依旧还是喜欢着你。我们即使发了一千次短信，但心与心之间，估计只能靠近一厘米。

最喜欢的一句：樱花下落的速度，依旧是秒速五厘米。而不论我们之间通过千条短信，我们之间的距离也不会拉近一厘米……

C. 谁能给详细介绍一下有关秒速5cm

今年最受关注的剧场版动画之一，新海诚作品《秒速5厘米/Byosoku 5cm》日前发布重要消息。作品将于3月3日在东京涩谷的CINEMA RISE影院率先上映，其后将在日本全国单馆系的影院陆续放映，目前已确定放映意向的有9家。
作为上映前的最后预热攻势，系列短篇的第1话《樱花抄》决定在2月16日－19日期间在YAHOO免费放送三天。通过一些途径已经获得了第1话的RIP视频，并由网友个人制作了这个先行字幕版供欣赏。所有新海诚的fans们还请继续等待3月3日的首映，以及不久后DVD正式发售的日子！

《秒速5厘米/Byosoku 5cm》故事讲述：

远野贵树和原明里，小学毕业就分开继续走上属于自己的人生道路。两人刻意回避了存在于他们之间的那些特别想法，而时间就这么静静的流淌过去。某个下着大雪的冬日，贵树终于决定去找寻明里……

整部影片分为：描写了贵树与明里相会之日的《樱花抄》、以及随后贵树以第三人称来讲述的《宇航员》、然后就是切取他们灵魂中彷徨的影片同名作《秒速5厘米/Byosoku 5cm》。

STAFF&主题曲：
原作脚本监督：新海诚
角色设定作画监督：西村贵世
美术监督：丹治匠马岛亮子
音乐：天门
主题歌：山崎まさよし《One more time, One more chance》

CAST：
远野贵树：水桥研二
原明里（第1话 “樱花抄”）：近藤好美
原明里（第3话 “秒速5厘米/Byosoku 5cm”）：尾上绫华
澄田花苗：花村怜美

D. 秒速五厘米到底讲的什么 秒速五厘米电影的简介

1、《秒速5厘米》第一话《樱花抄》描述贵树与明里年幼时恋爱的心情，以及他们重逢的一天，第二话《宇航员》描述以对进入高中就读的贵树怀有好感的澄田花苗的视角来展现贵树与明里分别后的生活，第三话《秒速5厘米》则刻画了贵树和明里长大后内心的种种彷徨。

2、《秒速5厘米》是新海诚创作的一部写实动画电影，于2007年3月3日在日本正式上映。作品以一个少年为故事轴心而展开连续3个独立故事的动画短篇，时代背景是从1990年代至现代的日本，通过少年的人生展现东京以及其他地区的变迁。

E. 求用英文翻译这篇《秒速五厘米》的影评~

真是一项严峻的工程啊，呼呼，终于翻好了。。。有些地方是意译，不完全跟中文一致。
希望能帮到你O(∩_∩)O~
"I hear that It has a speed of 5 cm per second."
"Hmm,what?"
"Cherry blossom falls at a speet of 5 cm per second."
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 rece 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.

F. 秒速5厘米的英文简介

Byôsoku 5 senchimêtoru （A chain of short stories about their distance）

The plot is set in Japan beginning from the 1990s and ending in modern day, with each segment centered on a boy named Takaki Tōno. It is important to note that the first episode takes place ring a time period when cell phones are uncommon and e-mail has not yet reached the general populace.

[edit] Episode 1: Cherry Blossom
Takaki Tōno quickly befriends Akari Shinohara when she transfers to his elementary school. They grow closer to each other e to similar interests and attitudes; for instance, they both prefer to stay inside ring recess e to their seasonal allergies. As a result, they form a strong bond; they speak to each other using their given names without any form of honorifics, which is very unusual in Japan, even among people who are romantically involved. This fact is lost in the movie's translation to English and other languages, which reces the implied closeness of their relationship.

Upon graating from elementary school, Akari moves to Tochigi, e to her parents' jobs. The two keep in contact by writing letters, but despite the feelings that exist between them, they inevitably begin to drift apart. When Takaki becomes aware that his family will be moving to Kagoshima, he decides to go see Akari since they will be too far apart to visit each other at all after he moves. He also prepares a letter for Akari, revealing his true feelings. However, ring the journey, he loses the letter, and a severe snowstorm continuously delays Takaki's trip by several more hours. The two finally meet, and as they share their first kiss, Takaki realizes they will never be together again. Stranded in a shed e to the snowstorm, they fall asleep after talking late into the night. Takaki departs the next morning, and they promise to continue writing to each other. As the train rolls away, Takaki regrets the loss of his letter, while Akari silently looks at a letter she had intended to give to him.

[edit] Episode 2: Cosmonaut
Takaki is now in the third year of senior high in Tanegashima, where the Tanegashima Space Center is located. Kanae Sumida, a classmate of Takaki, had fallen in love with Takaki ever since she met him in middle school, but does not have the courage to openly confess her feelings. She spends all the time she can with him, even waiting long after school for the chance to go home together. It is obvious Kanae has strong feelings for Takaki, but he appears to be blind to them; he simply regards Kanae as a good friend. Over time Kanae observes that Takaki is always writing emails to someone, or staring off into the distance as if searching for something far, far away. It is revealed later in this segment, that the emails Takaki is constantly writing are merely to himself, and he has had recurring dreams in which Akari is featured. Despite her feelings for Takaki, Kanae believes he is searching for things far greater than anything she can offer and eventually decides against telling him how she feels.

[edit] Episode 3: 5 Centimeters Per Second
It is 2008, and all three characters have gone their separate ways. Takaki is now a computer programmer in Tokyo, and Akari is preparing to get married. There is no clear indication as to what Kanae has done, but in the ending montage she can be seen slightly older laying on the ocean water next to her surfboard as well as saying goodbye to Takaki as he is leaving via airplane. Takaki is still longing for Akari to the detriment of his lifestyle and his other relationships, which a recent ex-girlfriend also acknowledges. Akari, while going through some old things, finds the letter she intended to give to Takaki but never sent. She feels nostalgic for those days but has moved on with her life. On the verge of a breakdown, Takaki quits his job.

One day while walking down a road, Akari and Takaki presumably pass and recognize each other, across a train crossing. They both pause and begin to look back, but the passing trains quickly cut off their view. Takaki waits for the trains to pass, but sees that the woman is gone. After a pause, he smiles to himself and continues walking.

Very high craftsmanship as always for Makoto Shinkai's anime. The story is very intimate and touching, but that's what I don't like about these gen-X directed movies. The scope is always about only two people with these guys. What's wrong with them ? At least the movie didn't leap into the destruction of the world with the two characters in the middle of it (like Tenkai's other anime Voices of a Distant Star) and so many other gen-X film maker's plot (like "Saikano").

They must have a fetish about a story the whole world revolves around the tiny world of two indivials.

And the usual sad (and hopeless) ending is another characteristic of these film makers.

I'm against these melancholy entertainment, because I see the selfishness that its okay if things are intimate between two people (but why it usually ends on a sour note is beyond me) and who cares what happens to the world around them.

These guys are young, and I hope a bit more healthy outlook prevails for the characters in the movie.

G. 《秒速五厘米》是先看电影好呢，还是先看小说好呢

秒速5厘米（秒速5センチメートル，副标题
a
chain
of
short
stories
about
their
distance）是日本导演新海诚于2007年发布的动画电影

H. 《秒速5厘米》时长一共是多少

第一话 25分51秒
第二话 22分30秒
第三话 14分08秒
完～

I. 求秒速五厘米的超清资源 谢谢

《秒速5厘米》网络网盘高清资源免费在线观看

链接: https://pan..com/s/17-coAk1HEupGeeFsWriqlg

该片根据新海诚的经典动画作品《秒速5厘米》改编。讲的是转学生小鹿来到了新的学校，在偶然的机会遇到了一个女孩，两人成为互诉心事互相鼓励的朋友，随着了解更多，发现两人竟然有着奇妙的关系渊源，一段发生在樱花下的美好故事就此展开了。

J. 秒速五厘米 ，电影资源。百度云。

《秒速五厘米》网络网盘高清资源免费在线观看：

链接: https://pan..com/s/1DT_JvwTRqFJgivavycRdaw

少年时，贵树（水桥研二配）和明理（近藤好美配）是形影不离的好朋友，可很快，一道巨大的鸿沟便横亘在两人中间：明理转学，贵树也随着父母工作的调动搬到遥远的鹿儿岛。在搬家前，贵树乘坐新干线千里迢迢和明理相会，在漫长的等待后，茫茫大雪中，两人在枯萎的樱花树下深情相拥，并献出彼此的first kiss，约定着下一次再一起来看樱花。