From the subject matter to the composition, the popular Japanese director is Hirokazu Koeda, which is reminiscent of Yasujiro Ozu:
But Hirokazu Kore-eda always denied the claim of "Ozu's successor".
"Late Spring" (1949) The daughter expresses intense jealousy and anger at her father's remarriage; after the father marries the daughter, he peels an apple with relief and suddenly stops:
Raise your head to cut the apple, bow your head and think about the girl!
The meandering peel and white flesh symbolize the disintegration of the gorgeous kimono on the wedding night. Not without the ambiguous father-daughter relationship expressed so sincere and delicate, looking at the world, only Ozu.
Aside from the sparks in these details, Ozu's works are so beautiful, and the characters are too flat. It is probably because of this that Mikio Naruse, who is more inclined to express complex human nature (representative works "The Wanderer" and "When a Woman Walks Up the Stairs"), in his words, "Narase's cognition of human nature is more dark".
It's Hirokazu Kore-eda's starting point is very high
The Buddhist concept of "impermanence" has a great influence on Japanese culture. Kaneyoshi Yoshida, a great writer and samurai from the north of Emperor Goyuta, said: "The world is impermanent, and it feels wonderful and infinite."
It is precisely because of the deep realization that life is as poignant and short as cherry blossoms that Japanese people work hard and live to the death.
It was Hirokazu Kore-eda who had a very high starting point. His debut novel, The Light of Magic (1995), presented the splendor of life and the quiet beauty of death. It was natural and affectionate.
Life is impermanent, and the heroine bears the childhood shadow of her grandmother running away from home alone and committing suicide;
After finally having a warm and lovely family, my husband committed suicide without any warning or reason:
Resolving all of this has become a life problem that the heroine cannot avoid.
refined mediocrity
"Walking Nonstop" (2008) The pain of losing a child extends in the ordinary years, however, there are also inspiring youth dance songs in the memory;
"Like Father Like Son" (2013) is exquisite, gorgeous, and sold locally for 3.2 billion yen;
"Sea Street Diary" is beautiful, cherry blossoms, kimonos, fireworks, human feelings, human nature, and the human body are as beautiful as the ancient capital Kamakura.
Life is unsatisfactory, nine times out of ten. It is Hirokazu-eda's transcendence that, in addition to the beauty, he never shuns the pain in life: the irresponsible father abandons his family and his lover, and the mother simply leaves her three daughters to her grandmother to take care of. After the death of their father, the three sisters brought their half-sister to Kamakura, another warm family drama.
The composition of the film and the use of light have reached a very high level. The shots on the walk or on the mountain trail may seem dull, but in fact, they have been carefully planned to present the most beautiful moments of the characters, and the pictures must be exquisite and exquisite:
There are many scenes of eating, and it is by no means a simple repetition. Enjoying exquisite food elegantly has almost become a prescribed action in Japanese healing movies.
The eldest sister hated her father at first: "Even if he used to be very kind and kind, in the end he was just a bad father." Later, he changed his words: "Although he is not a good father, he may be a good person."
Seeing this, you will understand that the director's love of Naruse Mikio is just Ye Gong's good dragon.
Touching the darkness of human nature lightly, inexplicably easily resolves and smoothes the huge creation in the characters' hearts, and how limited the transcendence of Ozu is, it will inevitably breed more dissatisfaction.
It was Hirokazu Kore-eda who felt that the fourth sister played by Suzu Hirose had a unique sense of arrogance, that kind of innocence but a little alienated from others. Similar to the eldest sister Yukio Kada (played by Ayase Haruka), who is solely responsible for the family, the director exerts too much force, and the actors are in chaos. The two of them ran to the top of the mountain together and scolded their father "Baga". It was not so much that the characters poured out their inner depression, but that the director was perfunctory to the audience.
"The Thief Family": This poor bowl of chicken soup for the soul is not worthy of the level of the Palme d'Or
In 1958, "Flying Wild Wild Goes" (1957), translated by Shanghai Translation Factory, gave Chinese audiences their first taste of the Palme d'Or in Cannes. Belinsky believes: "Time is the greatest, most correct, and most talented critic." The photography and editing of "Flying Wild Goose" are textbook-level, and it is still an insurmountable classic.
Since then, the Chinese release of "Paris in Texas" (also translated as Paris in Texas, 1984) and "Farewell My Concubine" (1993), both of which have lived up to the audience's expectations.
As a newly released Palme d'Or, "The Thief's Family" was hard to come by at the Shanghai Film Festival, and the scalper tickets were sold for thousands of yuan. Some fans complained: "It's better to go to Japan to watch it."
Ando Sakura (played by Shibata Shinyo) has superb acting skills. When asked what her child should call her, the mother who lost her fertility and lost her job for her child kept wiping her face, as if to see the past clearly, and she seemed to be weighing all the efforts Is it worth it? Sadness comes from it, and tears come down: "What do you call me? Yes, what do you call me?"
She can deceive the police, but she can't deceive herself.
However, on the whole, this is just a good and bad movie: the good thing is that it confronts the sorrows of Japan's bottom society, and the bad thing is that it creates an illusory bubble and fairy tales cover up the reality of the wind and rain.
Xindai hugged the girl distressedly: "They said they would beat you only if they liked you, which is false. If they really like you, they will hold you like this."
Follow me and have meat... Ando Sakura tried her best to save this sensational paragraph, but it still feels fake and too straightforward.
A mother's love is to let the child experience the difference through action, and it requires a lot of authentic and credible details. The director chose this simple and rough method, although it can win the applause of some audiences, but the artistic quality is greatly reduced.
Shibata Osamu's role as a father contradicts himself, which is the biggest failure of the film. Full of love, but instigating juveniles to commit crimes, the boy expressed dissatisfaction, he explained: the little girl participated in the theft and contributed to the family, she would feel more at ease.
It is understandable to hide a corpse to claim a pension, but it is difficult to dismantle it; however, letting a young girl steal chickens is actually a more terrifying form of domestic violence, and the girl's personality and personality are bound to be completely distorted.
Sympathy for the weak must retain the necessary restraint and proportions. Once it becomes a disaster, diluting the cruel reality with clumsy chicken soup for the soul is not only an artistic degeneration, but also an insult to the audience's IQ.
The original intention of the director's creation came from a news report about a thief: "This family of thieves steals fishing rods, and fishing is their hobby. This detail makes me feel both sad and beautiful. Life is like this, full of holes. There are also beautiful moments, and it's those moments that I want to capture."
Xindai works in a custom shop and meets Shibata Osamu, a hero who saves beauty; Aji works in a custom shop, without suffering and pain, and just like Xindai, he has gained true love: the "No. 4" customer who is lying on her lap like a baby and healed quietly. , clean, decent, tender like water; brother and sister were found stealing, but the store gave food, and persuaded: "Don't let my sister do this."
The habitual thief's sexual enlightenment education for boys is like a trickle, and naturally, it is completely expert level...
"Beautiful moments" are rampant, why does this kind of fairy tale world come from obscenity and "thief family"?
The crime of instigating children to steal, and the great harm that this crime does to children's hearts, is more abhorrent than abducting children and making them beg for money.
It is also a representation of the bottom-level predicament. The mother of "Florida Paradise" refuses her daughter to participate in illegal activities. This is the only way to talk about maternal love, and this kind of dedication and sacrifice is meaningful.
The branches are delicate, calm, and delicate, and the blandness has bumps and undulations, but it is not atmospheric enough. The dojo is built in a screw shell, and it lacks the vision and depth of the Japanese golden generation . Uncertainty is short-lived like a phantom light:
The country is unfortunate and the poet is lucky, and vice versa.
The new generation of Japan lacks personal experience of suffering , and presents the delicate and subtle beauty of human nature and human feelings, which is the best representative.
From the director, the judges to the audience, this is an era of general mediocrity, and even Hirokazu-eda, who is excellent, cannot resist the temptation of chicken soup. "Florida Paradise" failed to win at the Oscars, and Li Cangdong's cold and sharp "Burning" was only comforted by word of mouth and the Fabisi Award in Cannes.
View more about Shoplifters reviews
