来自网友【流光溢彩】的评论 It’s a Japanese film, adapted from an original cartoon series. Its conception other than its language or actors reveals definitely the nationality of the film, for Japanese films always have no ending, even no beginning, which creates in the audience the sense of real-life. As is said above, it has no ending and beginning. The film starts since the two leading characters’ chance encounter in the train, with their backgrounds unknown. Just because of namesake, the two Nanas become good friends and accompany each other for at least a passage of life, according to the film. On the surface, it’s a film about growing pain and bliss, with love playing an important role in it. Deep within, one can see from the unity of the two characters a real-life young woman in modern society. These two characters have contradictory dispositions; thus, they can attract each other as to become bosom friends. Being modern and rebelling, the elder Nana plays the role of a girl monster while on the other hand, the younger Nana is relatively traditional, like an angel. Besides, because the elder Nana speaks little, her background in the film is revealed in the form of the flashback in her mind, while the younger Nana’s simple life is known by her talk. In light of such differences, they unconsciously learn from each other. For example, the elder Nana learns to enjoy more love and friendship while the younger Nana to be strong and independent. This aspect is especially notable in their distinct love experiences. Anyway, whether or not the love ends in success, it’s seen as a must experience in the process of growing up in the film. In terms of characterization, the film surpasses many others in that it creates two equal leading roles, favoring different audience, instead of two roles with one inferior to the other, especially one girl always giving the other a hard time.
