Trivial and straightforward, this is the standard narrative method of the director, Hirokazu Koreeda. A failed marriage has left the two brothers separated, their parents are living peacefully, and the brothers also have their own circle of friends. Only irregular phone calls can keep them from forgetting the original family.
The slag of potato chips, the vague taste of dim sum, the volcanic ash blowing into the room... Countless small details reflect the precociousness and sensibleness of the two children. Although both sides have their own lives, the two brothers still hope to have family can be reunited.
Hearing that the opposite Shinkansen trains will generate a huge force at the moment of crossing, and this force can make wishes come true, so the squads began to save money to buy tickets. Don't look at the small body, everything is considered when preparing. In the shot of Hirokazu Koreeda, the world is gentle. Masami Nagasawa, who has only a few minutes of shots, and Uncle Kuan, who is arrogant but delicate on the surface, all take care of their little dreams. After a long foreshadowing, I just want to shout my inner desire when the train passes by, but this little hope is not for myself. The audience, the so-called miracle, is these children, they are the miracle body.
PS The 12-year-old Kanna Hashimoto is so immature, she thought she had made a mistake when she first appeared on the stage.
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