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They comment on her media appearances and share facts about her life, like that she was born on December 8, 1980, at the exact moment when John Lennon was shot. We don’t see much of Lily in the film but learn about her through the music and the obsessive mythmaking by her fans in the BBS. īewitching music plays while the film skips back and forth from the boy in the grass to the brief bits of white text on a black background. It seems that he’s hiding from someone and also that this time alone provides him some relief. He’s still dressed in his school uniform, all mop-top hair and gangly posture, listening to a CD on hisĭiscman. Someone else types, “This sounds like a cult.” The opening scene presents one of the users out in the physical world: a fourteen-year-old, alone in a bright field, wading through pristine grass that comes up to his waist. “The Ether heals my pain,” posts another. A permeating imagine of pain fills the gaps of serotonin,” writes one of the users. “The shadows SHE releases into the Ether sublimate its wavelengths, transcend the spectrum, reach the transparent beyond. The messages are intense and awkwardly poetic.
All about lily chou chou online code#
The BBS code is janky, and users must frantically reload the pages to decode text from garbled Western glyphs into Japanese characters. We can hear the clack of an old keyboard and another tap to refresh.
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Posts on an online forum devoted to Lily Chou-Chou, a mysterious pop singer, first appear in a mojibake jumble of accented Latin characters. Director Shunji Iwai evokes the gaps and hesitancy in early internet communication through the depiction of character encoding across the screen. Twenty years after the release of All About Lily Chou-Chou, I can’t think of a film that better depicts what first drew people to the internet, and certainly none that matches its expressive use of content-type header errors. All About Lily Chou-Chou, Shunji Iwai, Summer 2021