After watching this film, it is quite depressing. I believe most people feel this way. It’s just that everyone’s depressed points are different. I was caught by the contradictions before and after the film. But the almost abnormal ending should end with Yuki and no pain. Way to express and feel depressed.
The following far-fetched points have been lingering in the mind during the film watching:
Keiko, a mother who has no sense of responsibility (whether it is a sense of family responsibility or a sense of social responsibility), has raised four such sensible children headed by Ming? I have always felt that the health of the native family has an impact on the growth of the child, but it is not inevitable. The child's genes and personality also determine his own direction to a large extent. However, the personalities of the children of the four different biological fathers are surprisingly consistent, all so well-behaved and obedient. It's hard to imagine.
Many of Keiko’s children, whether his father is a taxi driver or a game room clerk, have a normal income, why doesn’t Keiko rely on some children’s organizations and institutions to coordinate living expenses, but rely on his own? Although it is mentioned later in the film that if you rely on children’s organizations, the brothers and sisters will be separated and may be adopted by different families. However, a family that does not want to be separated from each other and chooses to go on hard, shouldn't it be filled with a lot of love! A family built by this kind of love will not end up torn apart in that way. If you are someone who can abandon your child so easily for your own happiness or, in a larger sense, to unload your own burden, why not find a home for your child at least willing to raise him? You really think that a teenage Ming can be strong enough Can't you bear the burden?
A woman like Keiko is brainless. She tells her children not to go to school because it is useless to study. She tells her children not to go out because they are known when they go out. This woman who thinks with her lower body has experienced so many men but has never retained a man. Having experienced so much production but never thought about parenting, maybe you said that she experienced bad men or the phenomenon of male superiority in Japan at the time caused her experience, but this has never been an excuse for lack of personal responsibility.
It is understandable that Ming is sensible on the premise that his mother is working hard to support the family, but it is a bit too sensible. Not only do all the housework, caring for brothers and sisters, especially yearning for reading, but also self-study at night. Where did the naughty, temperamental, and bloody boy that he should be in his age? At his age, especially for boys, it is terrible to have this kind of tolerance and restraint system. Only later when he started making friends with bad boys stealing things in the supermarket and inviting them to play video games, and the house was messy and couldn't stand it, this approached the daily routine of his younger children.
Ming clearly knew his mother’s contact information, and even when his life was so tight he chose to continue to live without anyone knowing, although before, when his mother answered the phone with Yamamoto’s family, Ming had already known that her mother had abandoned them. That kind of ambition is no matter how arrogant you are, but you won’t make the last call for help until there are only three coins left. Have you forgotten that you are just a child? Or do you not want to ruin the happy life of the mother who abandoned you? Should this kind of ambition be reserved for 18+?
Ming and Kyoko chose to remain silent when Xiaoxue could not move? Didn't call the police or send to the doctor and haven't had a tear? Where is the lively love scene in the first half of the family? Where is that sensible big brother? Isn't the whole year that the cherry blossoms come to winter and snow is not adult? And the gloomy, weird and kind-hearted female student, playing with these little wild kids, even "carrying luggage" with Ming by default. Maybe she also wants to join the ranks no one knows, but this is almost a perverted reaction. It really makes the hair stand up.
Ming’s scope of activities is actually not large. Those supermarket staff, the landlord should have watched Ming from a normal boy next door to a little beggar in tatters behind. The staff provided Ming with expired food to survive. The landlord’s wife I inadvertently saw the situation of their home, but no one actually asked what happened to you? Everyone just talked and watched your situation worsen, it got worse, but they just watched, that's all. I don’t know if this is the social indifference that the director wants to expose. Even with such indifference, it will take too long. Behaviors such as arrears and theft will eventually be passively known by the society, right?
Such contradictions and far-fetched continued to the end of the play, and finally resolved after watching the original news adapted from the movie, and I have the answer.
The true story is that "Keiko" did abandon the child and was later sued for it. "Ming" did deal with "Xiaoxue" in a similar way, but "Xiaoxue" was killed by Ming and his partner. The neighbors called the police because they found that only children lived in this house. The police also found another "Xiaoxue" at home. .....
This world is not clear at all, this is a fictitious Ming made by Yu Zhi. This story, which I don't think is worthy of being put on the screen, has become particularly weird in the director's always light and windy shadow. This story, which should have shown strong emotion and conflict, has been glorified. The heinous problem is thus avoided. Behind the heavy story is a small fresh soundtrack.
I have to say that although I like Hirokazu Kee, I don't like this movie. It is a common problem for artists to make daily life beautiful, but it is too far-fetched to make it beautiful in the form of Yuka Kee!
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