A house is not just a house, everything in the house is a memory.
During the Shanghai Film Festival, some netizens said that "a suite in the inner ring of Shanghai is replaced by a [thief family]".
For this kind of behavior, I feel sad for Hirokazu Koreeda.
The four children in his [no one knew] were abandoned by their mother in the rental house , and when the landlord came to chase them, they had been fending for more than half a year.
The old mother in his [deeper than the sea] saw people around him move to high-rise buildings one by one, and she could only live alone in the regiment.
Including his [thief's family] family, they can only live in an old house, relying on odd jobs and stealing to make a living.
For so many years, it was Hirokazu Koreeda who repeatedly emphasized the house... no, the importance of family.
How can you say give up and give up. If you don't know how to cherish it, I will take your house for God [No.
Anyway, it has been released now, and a ticket costs dozens of yuan~
①
house, important member of the family
It's Hirokazu-eda's depiction of family, and indeed it's not just limited to people. The house in his films is also often an important role.
In [Sea Street Diary], the old house is located in Kamakura.
The 55-year-old plum tree is the same age as their mother.
Pick off the plum wine, and distribute the extra to the neighbors. The sisters are drunk, the neighbors are also drunk, a dream is good, and the dream will continue in the next year, as if a dream can last a lifetime. The plum tree is still lush, and the dream will not wake up.
A house is not just a house, everything in the house is a memory.
There are several sisters, who jump up every year, and the old house witnesses it every year.
The words you wrote on the head of the bed, the traces of paintings on the wall that couldn't be removed, and the burnt scar on the floor were all entangled with the soul of the house.
Who knows when, a note is pulled from a drawer or a crack in the wall, and it's another long story.
For this family, Lao Fang knows more than the children's father and mother.
②
Affection, concentrated in every square
In [Nobody Knows], [Deeper Than the Sea], and [The Thief Family], the old house may not be considered a loving father, nor is it more romantic than the one in [Haijie Diary].
It is the cowardice in front of the family.
In the small house, it was Hirokazu Kore-eda and even more money. Every gap in the house was filled with affection.
It was during the filming of this scene that Sasaki's deciduous teeth suddenly got aroused and decided to fall out.
Nakagawa Masaya (Lily-san), who plays the father, also said, I have never heard of it, how did I lose my teeth when filming.
Hirokazu Koeda caught the thought of wanting to be red at the cost of his life.
When he was shooting, he constantly revised the script according to the actor's status. The deciduous teeth want to add drama to themselves, and it is Hirokazu Koreeda who will add a tooth change.
Shuri pushed open the door of the closet, like offering a treasure, showing his brother Shota (played by the city cypress) his fallen teeth.
The old people say that if the lower teeth are lost, they should be thrown to a higher place. The higher the better, the lower teeth will try to grow up and grow neatly.
My brother wished he could climb up to the roof and throw his sister's teeth high.
The old house accepted this tooth with a smile. Just like the wooden house of [Haijie Diary], it smiles on the scale of the sisters' height.
After that, even if the family was separated, even if the house changed its owners several times, when Shuli passed by, he would still think, my tooth is still lying on the roof.
Even if Shuri doesn't remember, the roof remembers for her.
The closet that my sister pushed open is also very particular.
The room is cramped, but the boy needs his own space, even if he is not careful, he will bump his head, and he also needs the flashlight of the helmet.
Just such a silent detail, the kindness of the old house to the child is like when swimming, the father quietly told his brother that the boy Chenbo is normal and you are not sick.
To put it lightly, it is the greatest respect for a child's self-esteem.
Every inch of the house contains too many emotions.
So when the clerk came to persuade grandma (Shu Xilin) to sell the house, she just asked, if I moved, how much would you get.
The old man had bad teeth and scraped the pulp on the peel in a weird way. But the gloomy eyes and the mechanical movements are all to hide the heavy emotions: I don't want to move, I don't want to give up this old house, I don't want to give up this family.
The scene of selling a house also appeared in [Haijie Diary].
The mother came back and said to "dispose" of the house.
I have swept a few brooms for this house, and the house remembers it.
③
Reality, hidden beyond the eaves
However, a house does have a dual nature, it can sometimes be used to refer to "home", but sometimes it is a piece of property.
In [Like Father Like Son], although the gap between the rich and the poor is obvious, it does not affect life to the extent that [The Thief Family] is different.
The staff went deep into the small street and found an abandoned bungalow.
After finding the bungalow, it was Hirokazu Koreeda who first said to the art director, "Get me dirty."
The "thief family" lived in such a messy home.
They mainly live on their grandmother's pension, their father goes to the construction site, their mother (Sakura Ando) goes to the laundry room, and their mother's sister goes to a custom shop, where they do odd jobs.
It is Hirokazu Kore-eda's film, which repeatedly discusses the bond of family affection. This bond is sometimes the blood of [Haijie Diary], sometimes it is the company of [like father and son], and sometimes it is the instinct of the child in [no one knows].
In [The Thief Family], the starting point that connects everyone is poverty.
They are not related by blood, they just meet by chance. Because they are poor, they live together as a partner.
The same precarious sympathy for each other creates the illusion that as long as we live together under this shabby roof, we are really a family.
The most beautiful scene in the film is the family "watching" the fireworks together.
Looking up from the old house, there is only a small narrow sky.
Invisible fireworks, people on the edge. A little bit of romance is desperately squeezed out of the gaps in life.
However, as soon as you leave the illusion of the house, everything falls apart.
Mom took all the charges. Without the tile, she could only sit at the interrogation table. The surrounding walls were much cleaner than at home, but also colder.
The other party stopped her in one sentence: "What do they (the kidnapped child) usually call you? Mom? Mom?"
It was never called. Even if it's "Auntie" or a name.
This question was added temporarily by Hirokazu Edo, and Sakura Ando didn't know it before shooting.
She rubbed her face roughly, held back her tears in vain, and laughed needlessly, to no avail.
She suddenly realized that they were nothing but living together.
They are like Aki played by Matsuoka Moyu, who was selected by the customer No. 4 in the custom shop.
After all, they had sex when they were awake, and dispersed when they were drunk.
After grandma died, mom and dad rummaged through boxes to find her private money; my brother stole something again and was caught on purpose, ending it all...
It's just that the money transaction is really a last resort because of survival. Not so pure feelings, I don't have to, but I still took out my heart.
Strange only, the roof of the old house is too weak to support the long-term illusion of family affection.
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Text: Jiang not stop
The article comes from WeChat public account: Movie Detoxification
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