In short, it is a portrayal of Japan's lack of reality-Hirokazu Koreeda's story really comes from the real Japanese society-parents neglect to take care of their children in order to support the elderly.
These two things are not uncommon in China. In my hometown, lies about the death of old people are everywhere. As for the children who died because of their parents' negligence, such social news can be found everywhere in the circle of friends.
There is nothing new under the sun.
Hirokazu Koreeda's greatness lies in his consistent use of great calmness, which seems to completely give up the emotional intervention and outline such a patchwork family.
In the film style, we see the shadow of Hou Hsiao-hsien and He, including Jia.
In terms of literary inheritance, I seem to see Izu dancers.
Go back to the thief's house and piece together every member of the family. They are really weak, but another word is more appropriate to describe them:
Marginal crowd
They left the mainstream society for various reasons and lived a self-indulgent life in the mainstream social context.
They are actually: murderers, thieves, liars and quasi-ladies.
But in this small group where the mainstream value orientation has fallen, there are really the most sincere warmth, fatherly filial piety and orderly old and young.
They know each other's behaviors-these behaviors are wrong in mainstream cognition.
They also ignore each other's misconduct and accept each other-the marginal people form a warm family in a way that the mainstream people also appreciate.
Without the arrival of the little girl and the care of the old man in the grocery store, the little boy might not have been caught voluntarily, so this beautiful bubble would not have been punctured.
Therefore, the kindness of the mainstream people comes at a price, and the process of moving towards kindness is painful.
From bad to good, this is probably the case-just like the laws of physics, it is never possible to save work.
Marginal people can temporarily avoid the cost and pain, and build a bubble that is treading on thin ice, but this bubble will burst when poked.
At the end of the film, the bubble burst and the mainstream people appeared in suits and ties. Hirokazu Koreeda gave these people softness and light-this may be what Lu Xun said, which made the grave have a wreath and gave people hope-but the courtesy of a suit and tie is actually a sense of alienation and distance-I look down on you, I define you, and I won't understand you.
There is a clear line between good and bad.
Edge and mainstream, binary opposition.
But one thing, the two are interlinked, that is, they must live.
If you are alive, the edge can give yourself a mask, and the mask of the mainstream has never been removed.