In the snowy winter, the cry of an abandoned baby in the garbage heap disturbed the peaceful Christmas. The baby seems to have some kind of magic that makes three passing scavengers willingly scramble to find her parents.
There are twists and turns along the way, and the story everyone bears gradually unfolds. Uncle Jin, who left his wife and daughter because of gambling debts, secretly saved money for his daughter. "Miss" Ah Hua, who is a boy and a daughter, is willing to play the blue devil for love. Yumiki, who stabbed her father and ran away from home, twitched her nose to hide her crying. There is also the wife who stole the baby in order to experience the mother's love, and the husband who abandoned the baby in order not to be involved in the right and wrong. Everyone has his own pitiful and hateful things. This pitiful and hateful contradiction makes their images more and more difficult. Hair fresh.
But no matter what they've done and what they're doing now, they're comforted by that abandoned baby. Uncle Jin met his daughter, Ahua "Miss" understood her love, Yumiki reconciled with her father, Nishizawa Yukiko and her husband started over, Kiyoko's parents found the baby, and everything was fine. The Gospel of Luke says, "I will send my angel to prepare the way before you." That abandoned baby is the angel of God, who has prepared the way of redemption for everyone.
This is an atypical Kon-like work, but still in line with his style of "starting from the point of view of reality, mixing with the fantasy of existence, and ending with pure fantasy". The film is full of echoes and metaphors (such as the old man's lottery ticket and the characters' expressions on the 30,000 yuan), reality and fantasy (such as the lover who slipped and died from stepping on soap and the "Miss" Ah Hua who was blown up by the wind) , are integrated into the story without being abrupt. Among the snowflakes, I saw the dancing Tokyo Tower, which must be a gift from God.
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