Of course, Zhu Zi didn't mean to hide from the members anymore, he was busy with the most urgent things, such as dealing with the relationship with Haruka Ayase.

Haruka Ayase and Masami Nagasawa are about to collaborate on a movie.

The director of this film is the work of Hirokazu Kore-eda.

At this time, the great director sat opposite Zhu Zi, and in addition to him, there were also Masami Nagasawa, Haruka Ayase, Xia Fan and Suzu Hirose.

Zhu Zi looked at this great director, who was over fifty years old, this is a very good director.

Born in Tokyo in 1962, Kore-eda entered Waseda University as an adult and studied at the First Faculty of Letters, graduating at the age of 25 and joining TV MAN UION television productions, where he filmed several television feature documentaries for Fuji TV Station over a period of eight years, the most famous of which is "When Movies Shine in the Age: Hou Hsiao-hyun and Yang Dechang." Filmed in 1993, this television documentary about two of the most iconic filmmakers of the New Wave movement in Taiwanese cinema allowed Kore-eda to get close to his idol Hou Hsiao-hsien, and became an important guide for his future filmmaking.

So when Hirokazu Kore-eda got the opportunity to adapt Teru Miyamoto's "Phantom Light" into a feature film, he accepted it without hesitation, not only because he was a fan of Mr. Miyamoto Teru when he was in high school, but also because deep down, feature films are what Hirokazu Kore-eda wants to do the most.

Under the constraints of the budget and its constraints, the filming of "Phantom Light" was completed, and it was Hirokazu Kore-eda who released the film to Hou Hyo-hsien, whom he admired, as soon as possible. Hou Xiaoxian suggested that he submit the film to the Venice Film Festival, and was pleasantly surprised to receive the opportunity to be shortlisted for the main competition unit, which was a great encouragement for a new director's debut, although in the end he lost to Vietnamese director Tran Hung Thanh's work "Tricycle Driver" in the Golden Lion Award. But Hirokazu Kore-eda, a new generation of Japanese film directors, made his debut at international film festivals and paved the way for him to follow.

But years later, Kore-eda Hirokazu was reluctant to admit that "Phantom Light" was his debut novel. Not because of the quality of the film, but because "Phantom Light" has too many shadows of previous masters, not only Hou Hsiao-hsien, who made important guidance, but also Theo Angelopoulos ("Eternity and a Day", "Landscape in the Mist"), Victor Eris ("Hive Ghost", "South") and other European directors' styles are also traced in "Phantom Light". Not to mention the family philosophy inheritance of Japanese directors such as Kio Naruse and Yasujiro Ozu, all of which inadvertently influenced the image style of "Phantom Light". "It's too much like the graduation thesis of a student who loves movies", is Hirokazu Kore-eda's own evaluation of "Phantom Light". Although it is a joke not to admit that it is a debut work, the humble character is indeed revealed between the lines.

So after "Phantom Light", Hirokazu Kore-eda devoted himself to exploring his own style. The next two feature films, Next Stop, Kingdom of Heaven (1998) and Distance (2001), were both experimental films. In both works, Kore-eda made the most of his career as a documentary filmmaker, abandoning the long-shot fixed-camera lenses that were so well received in "Phantom Light" in favor of a more rugged hand-held lens in terms of audiovisual style, and even going one step further in "Distance", with the use of natural light and non-professional actors, making it infinitely closer to the films of the Dogma 95 movement.

"Where to place the camera is decided after watching the actors' performances on the spot, not before they enter the scene. This is Hou Hsiao-hsien's comment after watching "Phantom Light", and it also makes Kore-eda Hirokazu realize that he is bound by the storyboard script. So in the next works, Hirokazu Kore-eda avoided doing storyboards before filming, and in "Next Stop, Heaven" and "Distance", Hirokazu Kore-eda even avoided having a full script before shooting. "Next Stop, Kingdom of Heaven" uses a large number of civilian actors and their own stories, "Distance" simply has no script, and only gives each actor his own role positioning and general plot direction, and the specific lines are all decided by the actors themselves in live rehearsals.

In terms of subject matter, "Next Stop, Kingdom of Heaven" interviews 500 civilians on the streets, and selects actors from them to shoot the memories they most want to keep in their lives, and "Distance" turns its perspective to the families of Aum Shinrikyo cultists who were poisoned, all of which are themes with documentary colors.

It can be said that the experience of a TV documentary director has played a significant role in the accumulation of Hirokazu Kore-eda's path to feature films, and he has tried to integrate feature films and documentaries in style, which are all brave attempts made by Hirokazu Kore-eda in his early days.

The style is established, from "Nobody Knows" to "Walking Without Stopping"

Although "Distance" has already earned Hirokazu Kore-eda a ticket to the Cannes Film Festival, his name is better known because of the 2004 film: "Nobody Knows".

Now when it comes to "Nobody Knows", the biggest label may be the youngest Cannes Film Festival actor in history, and so far, the only Cannes actor that a Japanese actor has won. In the summer of 2004, Yuya Yanagi, a teenager with his own eyeliner, won the palm leaf almost undisputedly with his heartbreaking performance in "Nobody Knows" and defeated other competitors, including Tony Leung in "2046".

But despite the superb performances, "Nobody Knows" is also the beginning of Kore-eda's style change, and it is also a sign of the maturity of his plays. In "Nobody Knows", Kore-eda retains the hand-held camera and natural light from the first two works, and even the actors are non-professional children. However, in terms of the details of the script, "Nobody Knows" is obviously more mature and solid, the trivial life flow plot is filled with simple details, and its habit of expressing the relationship and emotions of the characters through cooking scenes is also shown for the first time in "Nobody Knows".

In the play, it is Hirokazu Kore-eda who combines the cruel and dark plot with the bright and beautiful image style that has been exposed, creating a different kind of contradictory perception. It visually feels like those children are still living happily, but the reality is the opposite. In addition, in the text, the femme fatale is hearted, and the mother who abandons her own flesh and blood is a gentle and good mother who gets along with her children in character, without exaggerating the cruelty of the incident too much, and the restrained expression is the main reason why "Nobody Knows" is remembered.

After "Nobody Knows", Hirokazu Kore-eda shot a film in 2006 that is hard to believe that this is his film-"Flower Warrior", an anti-bushido film of costume + comedy, whether it is from the subject matter or to the audio-visual, it is completely subverted Hirokazu Kore-eda's creative style all along, although it is Hirokazu Kore-eda who defended it by saying that this is a tribute to Akira Kurosawa's "The Low Class" and "Tram Man", but in essence, it is more like a work of ticket nature. 、

There is still something new in the repetition, a visual symbol of the Japanese family philosophy