What is the aesthetic style of Hirokazu Koreeda's film Diary of the Sea Street?

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During his stay in Beijing, Hirokazu Koreeda was also asked about the balance between the commerciality and artistry of films. He cleverly framed the answer within the scope of his work. He said that movies have no business and art, only interesting and boring.

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Facing the young faces excited with reverence in various activities of the Beijing Film Festival, Hirokazu Koreeda always shows confusion. He will ask the reporters who interviewed him why China audiences like their films, and he wants to know the reasons and details. If Kitano Takeshi is faced with the same scene, he will be very angry, because his works have never been introduced to China, which is unforgivable for people who watch pirated works. On the other hand, Hirokazu Koreeda is very tolerant of these things. Just like his works, he only cares about people and emotions.

Hirokazu Koreeda has always been called "Anjiro's successor" because of his family theme. However, he corrected this statement himself. Compared with Ozu, who cares about the life of the middle class, the source of his film spirit is Mikio Naruse and Taiwan Province director Hou Hsiao-hsien, who endlessly filmed Japanese Nobody like him.

Magic lamp 1995

In his 1995 debut, Light of Illusion, he admitted that his split-shot scenes imitated Hou Xiaoxian, victor erice, An Zhe Lopez and Leo Carax. When Hou Xiaoxian recommended Hirokazu Koreeda to sign up for the Venice Film Festival, he couldn't help telling him that you already have your own style, and there is really no need to imitate others.

"Shenguang" won the Best Photography Award at Venice Film Festival. Hirokazu Koreeda successfully transformed from a documentary director to a film director, but his documentary shooting style and materials were continued in subsequent films. The main story source of the next "Next Stop, Paradise" is that his assistant Miwa Nishikawa and others visited 800 old people in the street and asked them the same question: "What is the memory you want to be photographed most in your life?" Many interviews were written into the plot of the film intact, and even some grandparents who participated in the interview and recording at that time finally became characters in the film with their real names.

Father and son 20 13

Hirokazu Koreeda's works, like his own, have a kind of tenderness, which makes people easily adapt and immerse themselves in it. However, after enjoying the comfort for a period of time, his deep sensitivity and cruelty will naturally show up, forcing you to adapt, identify and finally realize * * *. His long-time friend and film critic Sakaguchi Shangwen once mentioned that he was "very stubborn" and "enthusiastically paid attention to every detail" in his early days, but people who worked with him later said that he was a gentle and kind person and was willing to listen to many opinions.

The two evaluations are not contradictory, which shows how a director who pursues personal style evolved from a rookie to a mature and profound one. My favorite oriental directors seem to have this style, such as the tyrant on the set and the good people off the stage, such as Ang Lee, such as Hou Xiaoxian and Hirokazu Koreeda.

Deeper than the sea 20 16

As for his own films, there is no doubt that they are commercial films. If they are to be returned to investors, the audience must buy tickets to watch them. He avoided talking about an indisputable fact that his films never made a box office, and his fans willingly accepted the status quo.

Last year, the Dongbao monster movie "New Godzilla" became the annual domestic box office champion, and another favorite director of Wen Qing, Makoto Shinkai, achieved unexpected success in Chinese mainland with "Your Name". As the most internationally renowned Japanese director at present, Hirokazu Koreeda was preparing his own "full screen" film project while teaching movies at his alma mater, Waseda University, until 20 19.

This freedom and accumulated space can be said to be the director's personal choice, and of course it can also be regarded as the greatest support that the current film market environment in Japan can give an excellent director.

Weng Qian, editor of Bai Wen Lian Xiao