It is Hirokazu Koreeda who is middle-aged and re-examining his relationship with his parents The Paper Author: A Shui Eight years after "Walking On", Hirokazu Koreeda and Hiro Abe collaborated again on "Deeper Than the Sea". It can be regarded as a companion piece of the former. The difference is that the two of them have been raised from "four characters" to "five characters", and they have both become fathers in these eight years. The roles of the two are complex, and the world they have seen is vast. When people reach middle age, they will have the desire to find answers from their side. When my father dies, my mother grows old, and I become a father myself, I re-examine my relationship with my parents, discover certain unavoidable similarities and continuations, and reflect on the right moment in the trajectory of my destiny. The late 1950s saw the rise of public housing in Japan. The interior of this type of residence is equipped with modern facilities such as automatic flushing toilet, bathtub, kitchen with dining room and balcony, which is the living environment that people dreamed of at that time. It is similar to the workers’ new villages in our country back then, which were uniform and full of vigor. They used to be full of children, but now they have become the final destination for families who are unable to move out. In the film, it was Hirokazu Koreeda who pinned his dreams on gambling and passed on this adventurous blood to his son's father; he commemorated the children who used to play together regardless of class, and even scrambled for places to play baseball. The luxuriant growth obscured the communal estates of childhood. However, "Deeper Than the Sea" is not an autobiographical film by Hirokazu Koreeda. He did project himself on the family in the film—grandma Shoko (Tokyo Shirin), father Ryota Shinoda (Hiroshi Abe), mother Kyouko (Maki Yoko) and son Mago (Yoshizawa Taiyo). memories, but the setting of the film and the conditions of the family members are fictional. Many of the protagonists work in private detective agencies and have been award-winning novelists, but have not published a work for 15 years. The unsatisfactory life of the little man has continued from his dead father to nothing. He is addicted to gambling, loves to evade responsibility, and has very similar qualities to his father, which led to Hiroko's departure. Along with that, his son Zhenwu has become a concern that he can only look forward to getting together on Sunday once a month. His work in the detective agency, which used to be his excuse for "gathering novel material", is now his only source of income. The accumulated "material" has become a sticky note on the wall, the latest one being: "When did my life start to go bad." This sentence is also the core of Llosa's novel "The Long Talk". Anyone who utters this sentence always believes that life has passed the peak and collapsed unknowingly. They are committed to finding the point of collapse, but it is difficult to understand that this point does not exist. Collapse may come from heredity in the blood. Although it may seem like to push fate to talent, half of it is true, and the other half is comfort. In many families, intertextuality is formed between members. Although the blood of gambling and risk-taking has been diluted to the third generation, the timidity, weakness and goodness of the three generations are the same. Grandpa's only advantage - good writing skills, his father and son Zhenwu's talent for composition since childhood, is also a continuation.
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