Hirokazu Kazueda: Strolling through the daily scenery, touching the warmth of humanity

Some people say that Takekazu Kitano is Hirokazu Koeda, who represent two sides of Japanese culture. Takeshi Kitano discusses the hidden cruelties of life, but Hirokazu Kore-eda shows the kindness that is common to life. Anyone who has seen Hirokazu Kore-eda’s film will probably agree with this judgment. In the art world of Hirokazu-eda, he uses images to gently look directly at the hearts of society, and shows the world’s human feelings in a slow and far-reaching style. The details are filled with philosophical and humanistic feelings, reflecting the Japanese director’s views on daily life and The thinking and care of human society are quite personal.

Hirokazu Koreeda was born in Kiyose City, Tokyo, Japan in 1962, and graduated from the Literature and Art Department of the First Department of Literature, Waseda University in 1987. It was Hirokazu Koreeda who started out by shooting documentaries in his early years. His main works include “But… in this era of throwing away well-being” (1991), which traces the suicide of the executive responsible for the Environment Agency responsible for Minamata disease, and a three-year observation of a calf and children’s growth process. “Another Kind of Education – Records of Ina Elementary School Spring Class” (1991), filming of the documentary film about Taiwanese directors Hou Hsiao-hsien and Yang Dechang “When Movies Reflect the Age: Hou Hsiao-hsien and Yang Dechang” (1993), direct attack on forward-looking amnesia that cannot accumulate new memories “When Memory Loss…” (1996). It was Hirokazu Kore-eda who first directed the film “Phantom Light”, which was adapted from the novel of the Japanese writer Teri Miyamoto, in 1995, and opened the way for his feature film creation.

“Phantom Light” is considered to be the most detailed Japanese film of the 1990s. The heroine Yumiko felt self-blame when she was a child for failing to dissuade her grandmother from running away from home. Later, she got married and had children, but her husband Yufu left unexpectedly. Yumiko had no way of knowing the reason. The passing of two relatives made Yumiko feel lost, unable to let go, and did not know how to relieve her inner sorrow. Yumiko chose to remarry after being a widow for a few years. It was a small village surrounded by mountains and seas, happy and peaceful. Yumiko hoped to come out of the shadow of misfortune and dilute the pain in her heart. The film is actually telling a story about loss. In the face of the departure of relatives, some people will forget quickly, but some people will find it difficult to heal the sadness. Yumiko is obviously the latter. Finally, Yumiko finally understands that death is a natural thing, just like the ebb and flow of the tide. In such a state of mind, death is peaceful, it lives in life, life and death are the same, day after day.

In 1998, it was Hirokazu Koreeda who directed the feature film “The Next Stop, Heaven”. After discussing what death is in “Phantom Light”, it was Hirokazu Kore-eda who turned to another theme at this time: what is there in the world to be nostalgic. “Next Stop, Heaven” tells the story of everyone staying at the station for a week before going to heaven. Under the guidance of the staff at the station, they look back on their lives and look for the most unforgettable memories, and then make them into movie clips, the protagonist When they watched the film on the last day, they forgot everything in the world, and only with that beautiful mood, went to the next stop, the kingdom of heaven. The film creates a kind of detached and mellow warmth, which is touching and thought-provoking at the same time. What is the most precious thing in life, and what is beyond death, so as to directly reach the essence of life. Those beautiful moments seem to be the light from heaven, making the heavy life light and lovely.

Distance (2001) is a drama about exploring life. The film is based on a malicious poisoning incident by a cult group in Japan in the 1990s. In this film, the so-called “distance” can be extended to “indifference and estrangement between hearts”. The film neither demonizes the personalities of cult members nor reproduces the details of specific incidents, but through clips The vivid memories, depicting and depicting the fluctuations and changes of the spiritual trajectories of the members of the cult group, make the audience realize the fragility and helplessness of the soul, and also enlighten us to care more about the relatives around us. The lack of communication and communication will only make each other the best. a familiar stranger. In 2004, Hirokazu Kore-eda directed the film “Nobody Knows” based on true events, and was nominated for the Palme d’Or in the main competition section of the 57th Cannes International Film Festival. The film tells the story of several children from being hidden to being abandoned in a semi-documentary way. Four siblings had to start a new life after their mother left. Although it is a tragedy, there is no hysterical cry; although it is full of suffering and pain, it is spoken in a calm and delicate atmosphere from beginning to end. Perhaps only after experiencing endless misfortune and enduring enough grief, can we understand the strong desire to survive that bursts out of despair. Just as the film critic said: “All the characters in this film have a sense of existence, and the sadness and happiness are all displayed on the silver screen, reflecting the real world. No matter who they are, they will have responsibilities that they must bear, and they cannot choose or not. Escape has nothing to do with right or wrong, and has nothing to do with good or evil.” After experiencing joy and sadness, misfortune and helplessness, the children gradually became stronger and matured, and they also better understood the meaning and essence of life.

The light-comedy costume film “The Warrior of Flowers” (2006) is about revenge on the surface, but in essence it opposes revenge and advocates peace. It is Hirokazu Kore-eda who said: “After the 9.11 incident, there seems to be an atmosphere of revenge around the world, and Japan is no exception. Some people want to revive militarism and Bushido.” And “The Warrior of Flowers” is his response to this phenomenon. However, the plot of this film is a little dull, and it praises the little man who is cowardly and evasive because he is greedy for life and fear of death.

In 2008, it was Hirokazu Kore-eda who returned with the film “Never Stop”, a family-themed film that won the Best Director Award at the 51st Japanese Film Blue Ribbon Award and the Best Director Award at the 3rd Asian Film Awards, winning the Very good reputation. The film tells the story of the second son of an ordinary family returning to his home after a long absence to reunite with his elderly parents. The film continues the style of Hirokazu Koreeda, calm and delicate, beautiful and warm. The film does not intend to convey any big truth, some are just real life and inner world.

The love sci-fi film “Air Doll” (2009) tells the story of a girl in the air doll who gradually develops feelings, falls in love with a videotape rental store clerk, and experiences the joys, sorrows and sorrows of “people”. It is Hirokazu Kore-eda who tries to express complex and diverse interpersonal relationships with tiny themes, and depicts all kinds of “lonely urbanites”, which is thought-provoking.

In 2011, the film “Miracle” written and directed by Hirokazu Koreeda won the Best Screenplay Award at the 59th San Sebastian Film Festival. The film tells the story of two brothers, Koichi and Ryunosuke, who are separated from each other because of the divorce of their parents. Hang Yi, a sixth-grade elementary school student, lives in Kagoshima with her mother, her mother is busy looking for a job, her grandfather runs a Japanese-style confectionery shop, and her grandmother is keen on learning hula dancing. Ryunosuke, who is two years younger, lives in Hakata, Fukuoka, with his father, a musician. The brothers have been trying their best to reconcile their parents and hope that the family of four can be reunited again. On this day, Hang Yi heard a news: the Kyushu Shinkansen connecting Kagoshima and Hakashima is about to open. A miracle will happen at the moment of staggering. It is said that it is a staggering of up to 260 kilometers per hour, which will generate huge energy. The person who witnesses this moment can realize his wish… In this film to commemorate the opening of the Kyushu Shinkansen to traffic In the film, it was Hirokazu Kore-eda who used the Shinkansen as a means of transportation to make a big fuss about the geographical space and inner space, and vividly showed the ethical family affection, which received rave reviews after the release.

In 2015, Hirokazu Kore-eda directed the film “Diary of the Sea Street”, which won the Audience Award at the 63rd San Sebastian International Film Festival. Adapted from a popular Japanese manga, the film tells the story of three sisters living in the ancient capital Kamakura and their half-sister regaining family bonds. The style of the film is elegant and fresh, full of the taste of healing.

In Hirokazu Koreeda’s films, he is more willing to explore the decay and internal perfection of individual life, and shows a lasting passion for exploration of death or life itself, showing the state of the human world through various situations caused by the accidental event of death. At the same time, in the face of the difficult reconstruction of post-war Japan and the impact of the post-industrial era on the family structure, compared to Yasujiro Ozu, the “family” under the lens of Hirokazu Kore-eda is not so clear and single, but presents a more Complex ambiguity and ambiguity. Families are broken and broken, and the relationships between family members are tense and fragile. It is Hirokazu Kore-eda that, with the help of the traditional ethical structure of the family, implies the pursuit of an ideal hometown and a warm yearning for human relations.

Hirokazu Kore-eda was called by critics as the representative of the “New Wave of New Japanese Cinema” and “the most serious director of his generation”. From shooting documentaries to directing feature films, it is Hirokazu Kore-eda’s attention and thinking on a specific topic, which constitutes his unique perspective when telling stories. Whether the theme is an event that shocked the society or the memory of a loved one, Hirokazu Ededa does not pursue dramatic conflicts, but captures delicate emotions from everyday fragments; of course, Hirokazu Ededa does not like heroic plots, but I hope to capture the beautiful moments that this somewhat dirty world suddenly shows, so that the audience can leave the scene with an unfinished story, and continue to explore this seemingly real and illusory world in front of them. In his films, he shows the themes of life and death, loneliness, loss, and memory, inheriting and returning to the traditional Japanese film’s family ethics that is full of daily life, without seeking grand scenes, delicate and delicate pictures, and slow rhythm, revealing a very The gentle side, like a trickle, is subtle and meaningful.

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