After the strange "Flower Warrior", it was Hirokazu Kore-eda who suffered an important blow in his life: the death of his mother. This also made Hirokazu Kore-eda determined to come up with the script of "Nobody Knows", which was written in 2001 and planned to shoot until he was 60 years old, and put it into filming. No matter how you look at it, "Walking Without Stopping" is Hirokazu Kore-eda's most mature and pinnacle work, and it is also the best summary of Hirokazu Kore-eda's film style and theme philosophy.

The unexpected departure of the eldest son, the second son who married a widow, the daughter who lived comfortably, the stubborn and conservative father, the kind mother who was the family reconciler, and the image of the child as a symbol of hope appeared in almost every work of Hirokazu Kore-eda. It is Hirokazu Kore-eda's scheduling of many characters' group scenes in these 2 hours, the restraint and weakening of key plots, and every move and every line reveals the essence of Japanese family philosophy and aesthetics.

And the final ending is the finishing touch, especially the faint narration about the departure of his parents, the comparison between the final tomb sweeping and the previous tomb sweeping of the eldest son, and finally walking down the mountain, the camera pans upward, and the family gets in the car and goes down the mountain. Simple, yet full of meaning and perfection.

The period from 2009 to 2016, after "Keep Walking", was the most productive period of Kore-eda's creative career, with five feature films and a 600-minute Japanese drama in seven years. Hirokazu Kore-eda, who still maintains a stable quality in the midst of the rapid development, slowly leaves behind his contemporaries of Japanese filmmakers and gradually becomes a symbolic figure in Japanese cinema.

Among these 6 works, except for "Air Humanoid", which is a rare work by Hirokazu Kore-eda that focuses on lonely individuals, the rest are Japanese-style family themes, especially in 15 and 16 years, the similarities in the themes of the two works "Sea Street Diary" and "Deeper than the Sea" make more people think that Hirokazu Kore-eda has been repeating himself, and even the Organizing Committee of the Cannes Film Festival, which has always supported Hirokazu Kore-eda, can't stand it, and downgraded "Deeper than the Sea" from the main competition unit to the secondary unit: a kind of attention unit.

But regardless of the theme, Kore-eda devotes different expressions to each of his works, such as the delicate depiction of the inner throbbing of children growing up in "Miracle", the in-depth exploration of blood relations and the contrast between families of different classes in "Like Father, Like Son", the insipid description of the intrusion and departure of life in "Sea Street Diary", and the reflection and salvation of the failed middle-aged man on his own life and the bond of the family's eternal separation in "Deeper than the Sea". With similar themes but completely different expressions, it is Hirokazu Kore-eda who makes family dramas, which can be said to be at his fingertips.

Food is an important part of Japanese culture and one of the essential elements of Hirokazu Kore-eda's films. From the family dinner as the story base of "Keep Walking", to the plum wine brewed by the grandmother in "Sea Street Diary", to the curry sauce that the deceased old father loves to eat in "Deeper than the Sea", Hirokazu Kore-eda used the method of filming food to make the audience sitting in front of the screen coo, and at the same time, it also perfectly connected the relationship and inheritance of family members in the film. A bottle of curry paste brings the soul of the deceased back to this fatherless family.

This is also what Hirokazu Kore-eda is best at, taking out the taste of life in ordinary things, and realizing the truth of life in life. In the past few years, Hirokazu Kore-eda has taken this advantage to the extreme. Everyone can write the plot of the flow of life, but he is able to rely on ordinary texts and tap into great energy, and Hirokazu Kore-eda is a master in this area.

Between the non-stop steps, the delicate plot and expression are like the leisurely guitar soundtracks often used in his works, which make people feel the beauty of life and movies, and inadvertently wet their eyes. At the age of 55, Hirokazu Kore-eda is at the peak of his creative career and is undoubtedly on his way to becoming a master.

"Zhu Zisan, are you really not planning to make a movie?" asked Hirokazu Kore-eda.

Zhu Zi shook his head: "I'm very sorry, Director Shizhi, I have already withdrawn, and I appreciate your kindness." I hope that "Sea Street Diary" will be a big hit. ”

"Okay, since Zhu Zisang is unwilling, then I won't force Zhu Zisang. I hope we have the opportunity to cooperate in the future. It was Hirokazu Kore-eda who said that he originally invited Zhu Zi to participate in the filming of his new movie "Sea Street Diary", but Zhu Zi declined.

The four leading actors of "Sea Street Diary" are Haruka Ayase, Masami Nagasawa, Xia Fan and Suzu Hirose.

Except for Suzu Hirose, the other three are all post-85 actors.

And Suzu Hirose also became one of the best actresses of the post-90s generation with "Sea Street Diary", of course, because of her unintentional words in the show twice, she was criticized by many Jennis fans.

Of course, everyone has brain-dead fans, and there are many fans like Genesys, which makes Hirose Suzu quite fierce in the reputation of fans.

"Sea Street Diary" is a relatively warm movie. It mainly tells the story of the three Koda sisters who live in the house left by her grandmother in Kamakura, Japan, Yuki (played by Haruka Ayase), Kanno (played by Masami Nagasawa) and Chika (played by Xia Fan). One day, they suddenly received the news of the death of their father, who had not heard from them 15 years ago, and the two younger sisters, who had long been vaguely impressed, did not feel any sadness, and the eldest sister could not forgive her father when she thought that she had been abandoned. The three people who did their last duty to incense their father unexpectedly met their half-sister Suzu Asano (Suzu Hirose) at the funeral, and found that her biological mother, the woman who snatched her father in the first place, had long since passed away, and she was not treated well by her stepmother after losing her father, and she was helpless. The three older sisters decided to take the child in and live with them in Kamakura.

After Hirokazu Kore-eda left, Haruka Ayase stayed.

"Zhu Zijun, did you really decide not to make a movie?" asked Haruka Ayase.

"Without filming, I'm tired of the director's life, and I don't have any particularly good works now. The most important thing for me is to spend time with my family. Zhu Zi said lightly.

Haruka Ayase's eyes flashed with resentment.

"Zhu Zijun has changed, and Zhu Zijun was really full of energy before. Now there is a sense of vicissitudes. Haruka Ayase sighed.

"How do you say it? I'm about to be thirty years old, do you always have to date mature?" Zhu Zi said with a smile.

Haruka Ayase had a black line on her face: "Obviously there are still three years to go before he is 30 years old, but now he is pretending to be deep." ”

"Hahaha, my heart has reached the age of thirty, maybe this is the price of being too good, before you get old. Zhu Zi said with a smile.

Masami Nagasawa looked at Zhu Zi quietly, and she also felt that Zhu Zi had become a little sentimental, compared to before.