"We have nothing but love".
How much misunderstanding of this "The Thief Family" must have occurred to write such a movie propaganda. The tones at the bottom are never tender, it's about a desire to live. The world is full of all kinds of misunderstandings and imaginations about the poor, and every time I try to focus the film on the ants flowing at the bottom, it unconsciously imposes the blurred aesthetics of the middle class.
Gaze towards the bottom
It is Hirokazu Koreeda, who was born in Tokyo in 1962. After graduating from Waseda University, he first entered the filming of documentaries. In 1993, he filmed the documentary "When Movies Reflect the Age: Hou Hsiao-hsien and Yang Dechang". The growing environment in childhood, the experience of shooting documentaries in adulthood, and the special love and research of Taiwanese culture have jointly created a shooting consciousness that is different from other directors.
It was Hirokazu Kore-eda who showed in the film an unresolved attitude towards any social issue. He had no intention of handing over any solution, nor did he criticize any individual in a certain position. Objectivity may seem too cold to many viewers, but in this society where no one needs to be in charge, I feel that it was Hirokazu Kore-eda's interpretation that broke the original normative and differentiated interpersonal relationship. It is precisely the indifferent gaze that recreates a real temperature between people.
This awareness is best illustrated by Hirokazu Koreeda's 2004 feature film "Nobody Knows", and even today's "The Thief Family" is difficult to match. Although "Nobody Knows" exposes more roughness as a director, "The Thief" reflects the familiarity after many years and many movies.
Daily life of the outcast
If one day you are abandoned, how will you live?
"The Thief", like "Nobody Knows," tells the story of the outcast, but the two express them from very different perspectives. "Nobody Knows" tells the story of four abandoned children, while "The Thief Family" is about "Abandoned people—a family of abandoned people—a family of abandoned people abandoned. The progressive story of "home" is that in the progress of such a story, it is Hirokazu Koreeda's awareness of the problem that not only stays in the one-way problem of "how should the abandoned live" , but also belongs to a few people. A broad societal issue for all about "how on earth do we create more authentic connections between people" ?
In an interview with South Korea's JoongAng Daily, Hirokazu Kore-eda once said: "Families dissolve with the collapse of community culture. Not only have they not matured enough to accept diversity, but they have gradually moved closer to regionalism, leaving only national quintessence, and Japan does not recognize history. This is the root cause. I am full of guilt to my Asian neighbors. Japan must also apologize like Germany. But because the same regime has always been in power, we have lost most of our hope.”
Is Japan the only country that is "not mature enough to accept diversity"?
What is "home" and what is "daily life?"
Why do Chinese people like Hirokazu Koreeda? Maybe he faintly pierced the ruthless essence of the traditional Chinese family standard. Just as the people in "The Thief Family" are kept together because of money, more than one billion Chinese people are kept together only because of "family". together, but this bond is fundamentally an illusion, an illusion of "home". We think that our home is full of warmth, dedication, and love. In fact, it is more of a connection of interests, from the illusion of one home to the illusion of another, but we have never asked outside of it first; we want to What is your home like?
And what kind of life does the so-called "daily life" refer to?
This is why more people started cursing Hirokazu Koreeda after they came out of the theater. He expressed a certain desire of people but did not give a clear path to desire, making people have to endure this life. pain.
Heidegger always thought: "Are people thrown into this world?" So he felt that seeking "dwelling" is the most essential pursuit in human life, and falling in daily life is the establishment of relationships, but after time advances However, in daily life, the cart before the horse appears to be reversed. Relationships were originally created for people's habitation, but in the end, we have to cling to relationships again and again for the continuity of relationships, but we forget that the pursuit of habitation It is immutable, but the appearance of the relationship can be diverse. If the family is attached to a definite blood relationship, then perhaps we, the self-proclaimed Homo sapiens in this world, have not been able to get out of the narrow and self-enclosed genetic instinct, the kind of genetic superiority brought from the blood of our ancestors. The recognition of sexuality has never been substantiated, and this unresolved historical becoming has not broken through the evolution of time to create a more sublime dwelling?
Therefore, in "The Thief's Family", the grandma by the beach whispered "Thank you", and the little boy called out the long-awaited title "Dad" on the bus after saying goodbye. It was Hirokazu Koreeda who used a picture of life that escaped ordinary people's eyes and life, loosened people's inertial cognition of home with the gathering and relaxation of a "home", and also gave a gentle attention to a subtle sense of "home". A real relationship" affirmation.
Daily life, is it "daliy life" or "everyday life"?
The later research of the philosopher Wittgenstein advocated starting from everyday life and exploring philosophical issues through the analysis of everyday language. Everyday life as a concept, through the phenomenologist Husserl's "lifeworld" - emphasizing people's concrete experience (lived experience), to Schutz's introduction of the lifeworld into sociology, and later the sociologist Finkel based on this It breaks through the narrow scope of traditional primary relationships such as "family" and "small group", and establishes a more in-depth empirical research method to examine daily activities - the method of ordinary people: focusing on the core social rules and "the structure of daily life". The above are still stuck in the macroscopic totality, and have not really entered the microscopic life of the individual, until the "critique of daily life" developed by Western Marxism, including Lukacs, Heller, Lefebvre, Debord and others. Seto, starting from the "everyday" and reflecting on the profound influence of capitalism and even modernity on people's daily life, can be called a profound "knife" that inserts macroscopic thinking into microscopic life.
It is Hirokazu-eda's "The Thief's Family" that is an artistic performance in the above historical generation, "accustomed to cover up", it is Hirokazu-eda's film is a kind of "everyday" speech, this speech is a process of exposure, will The microscopic abnormal state that was originally obscured from the macroscopic perspective has returned to the category of everyday life, and in this way, the definition of "everyday" is re-examined.
When filming "Miracle", it was Hirokazu Koreeda who thought that this was a movie to watch when her daughter was ten years old, and wanted to say, "The world is so wonderful, everyday life is beautiful, and life itself is a miracle."
Japanese director hiding behind emotions
He also focuses on the daily life of the film lens, and is often called the successor of Yasujiro Ozu, but he believes that his film appeals are more influenced by the predecessors of TBS: screenwriters such as Mr. Yamada Taichi, Xiangtian Kunzi Madam, the director's words are Kaoshita Shinichi and Kuze Mitsuhiko. But it is undeniable that the Japanese directors are really hiding their emotions, but they reveal it in a peaceful and tranquil lens because of the excessive force of Chinese directors of the fifth and sixth generations to describe the relationship between life and history. Come out more profound and think with natural control.
Whether it is Yasujiro Ozu or Hirokazu Koreeda, they have never stood on the commanding heights and tried to guide the audience's life with movies. They just said: live on, live on, it will be beautiful.
As Hirokazu Kore-eda said:
"And I want to describe the moment when there are no heroes, only ordinary people live in a somewhat dirty world that suddenly becomes beautiful."
Will this society still love people? No, this society has never seen people.
However, as a human being, if you want to be seen by others, you must first see it.
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