There are no tears in Hirokazu's movies, because crying is hypocritical, and the true sadness should flow in the hearts of actors and audiences. The consonance of the two should not be the subcategory of the theme of the movie, but should be high at all times. The protagonist of the argument. The brothers whose parents divorced and separated the two places in the miracle, the four siblings abandoned by the world in the unknown, the hollowed-out soul bodies in the air puppets, none of them cry, and there is no pretentious sensation in the plot, but the audience's heart But with the passage of time, there was a trace of emotional throbbing. Cruel themes and warm scenes, dull shots and details, the most wicked and lamentable indifferent society and the most pure and innocent children’s smiling faces are transformed into sublime moments in which the audience can figure out the director. It is the artistic expression technique of Hirokazu Zhi: It sets off the deep expansion of the theme, and deepens the awe of life and the desire for love. The miracle still continues the semi-documentary shooting method of the director Hirokazu Edema, but perhaps the only thing that surprises the fans is that there are many big-name stars in the movie willing to serve as the lining of the green leaves, watching Hiroshi Abe, Joe Odagiri, and Nagasawa Yami and other big names just shook in front of the camera, and you have to sigh the director's skill. But undoubtedly, the kitsch commercial atmosphere has become a prisoner at the end of the battle under the simple setting and display and strong nostalgia, aiming at how to make love in the unrestricted "unscrupulous" to gain the supreme highlight. In the absence of anyone knows, the director Hirokazu Kee spent a year shaping the most authentic performances of the children, allowing their immature hearts to fly freely in the vacuum of reality and virtuality. This is also true of today's miracles. The little actors' performances that penetrate love, every pair of affectionate, drooping eyes, and every sincere smile are more charming than movies that constantly express the profound theories. After fighting in Cannes for many times, it seems that Hirokazu Kee is more determined about his film mission. The miracle can be regarded as a creative return of the director himself. It condenses the director’s many years of mentality and life experience, with warmth as the keynote. The greetings and encouragement in Shengman language spread. Unruly father who works tirelessly for the dream of rock music, the younger brother of the natural director Lotte, the elder brother who is thoughtful about things, the mother who is exhausted for life, the grandmother who loves life and active life, the grandfather who focuses on traditional craftsmanship, and all come from different people. Classmates of life background are accompanied on the journey of seeking dreams. They have dreams in their arms and long for a miracle to happen at the moment when they meet on the train. Life is a train. During the journey, we will encounter many stations. Driven by temptation and curiosity, we can't help but get off the train halfway. Often this way we can’t reach the terminal, and we don’t know if it will be one. What kind of station. Only after a long journey, when our hearts are exhausted, can we perceive this stop called love. Only an artist who truly understands love will give the most qualitative, true and eternal mission: to live for love. At the end of the film, listening to quruli's lazy voice blending with the lyrical guitar sound, I cried, crying for the love that hits the heart the most.
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