The first time I watched it in the theater was Hirokazu Kore-eda. Without the warmth of the past family themes, the murderer turned into a container of good and evil in human nature through self-trial, which was cruel and stern. It was Hirokazu Koreeda who passed a trial and severely tortured the human nature behind the legal and moral trial.
Each of us is guilty, but we don’t know how to redeem, rational confusion and moral dilemma, we can only rely on cold mechanical legal provisions.
This is a suspense film, but it is very delicately shot. In an anti-climax narrative, the truth gradually blurs as the plot develops until it no longer matters. Issues such as underworld usury, food fraud, domestic sexual assault, judicial malpractice and social injustice gradually emerged, and the few fleeting moments of warmth, such as building snowmen and writing postcards, made people ponder the darkness and complexity of human nature. Behind the stunning double-image shot at the end, everyone who ignored and covered up the truth should have blood on their faces.
As my current favorite Japanese director, the shots of this new work are as restrained and calm as always, very advanced, and I like it very much.
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