Hirokazu Koreeda chose such a heart-abuse subject rather skillfully, so that the child who had been raised for five or six years severed his relationship with him and exchanged for a child who had no contact with him although his own flesh and blood. No matter how you tell this story, There will be no shortage of sensational elements. But Hirokazu Koreeda used these sensational elements with great restraint, using a calm and unhurried picture of seeing the true feelings everywhere, telling a story without tears. This work highlights Hirokazu Koreeda's choreography skills. On closer inspection, the main characters of the film have different cultivation, personality, experience, thinking style, etc. In many scenes, the director puts several protagonists in the same scene, asking them to say different lines and do different things. Use the most intuitive means to show the audience their differences. Similarly, the psychological drama of the film is not inferior. (
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"そして父になる" explores an ethical topic that is not new: blood relationship and companionship, how to choose? Hirokazu Koreeda has a clear attitude, but he is not tough in terms of performance. The slow rhythm not only gives the audience room for thinking, but also subtly substitutes the director's attitude. The film always exudes a sweet smell, even sadness is faint, making the audience smile and cry, coupled with the cute little actors, the whole film is full of warm love. (
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The film is director Hirokazu Koreeda's personal thoughts on family affection. His control of the plot and characters is as restrained as ever, and he tells the story carefully, avoiding excessive drama in the film, thus showing the calmness and meticulousness of the whole story. Shan Masaharu's role weight surpassed all other actors. He was just beginning to be steady and rigid. As the plot develops, he becomes more and more emotional. Several scenes are very touching. The director once again demonstrated his ability to unearth the potential of non-professional child actors. In the film, the children completely robbed the adults of the scene. (
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On the whole, the film has traces to follow in the creative context, which is a bit like a variation on director Hirokazu Koreeda's previous work "Miracle". Its image is quiet, emotional, and indifferent, there is a kind of unspoken true meaning that touches people's hearts. Although at first glance, the story of "そして父になる" is quite bloody, inexplicably like a Qiong Yao drama, but the reason for the baby's dropping is that the branch is dark again. However, he did not do more entanglement in this matter-even if it is a step forward, making moral evaluation or social criticism. When the tragedy has occurred, what he hopes is to resolve the impact of the tragedy. ()
The expression of the film seems to be a compressed TV series or a saturated movie. The story of this nearly 120-minute film is more complicated than expected by the subject matter, so that the plot advances very quickly. This narrative speed also caused the film to rely heavily on omission. However, the film catches up with the story, as if it doesn't care about the development of the exciting forms of the past. The film maintains the issue of "blood relationship" and discusses it from different angles like a paper. Strictness occurs in the overlapping of the meaning of the relationship between the characters rather than the form presented. However, this is only on the surface. The rendering power to the audience still depends on the form. It seems that the disappeared form is also like the trend of Ozu's later works: limiting yourself The materials and themes tend to be more focused on the ideas to be conveyed. ()
