Without a certain level of maturity and life experience, it may be difficult to appreciate Hirokazu Koreeda's films. Some might find them mundane and uninteresting, lacking drama and conflicts, as they predominantly depict the ordinary and even mediocre aspects of everyday life.
One might assume that such films wouldn't have a wide appeal. However, Hirokazu Koreeda has amassed a significant following globally. His films are distinct from Hollywood's blockbuster movies, which often create grand and thrilling hero-driven narratives, or from realistic films like "Parasite" or "Shoplifters" that are filled with social critique and satire.
Instead, Koreeda's films offer a different experience. They delve into the quiet moments of life, exploring the intricate dynamics of human relationships and the subtle emotions that shape our existence. Through his storytelling, Koreeda invites audiences to reflect on the beauty and complexity found within the ordinary, touching hearts with his profound insights into the human condition.
Hirokazu Koreeda transforms his reflections on reality into a profound and delicate Eastern aesthetic of "mono no aware" – a deep appreciation of the transient nature of things. His films consistently focus on the joys and sorrows of ordinary people, capturing the subtle nuances of everyday life. When discussing his creative process, he once remarked, "I don't like narratives where the protagonist overcomes weaknesses, protects their family, and saves the world. I am more interested in portraying the moments when an ordinary, somewhat dirty world suddenly becomes beautiful."
Indeed, this is the truth of life. There aren't countless superheroes or moments of grand heroism. The reality of life lies in the realization that, even after recognizing the truth, one must continue living.
There is no antidote; that is the antidote to life itself.
The Documentary Aesthetic of Fixed Shots and Long Takes
Hirokazu Koreeda's unique aesthetic style is characterized by the extensive use of long takes and fixed shots, providing an objective perspective to explore the intricacies of human relationships, while prioritizing details over plot-driven narratives. This approach resembles documentary filmmaking, capturing the authenticity of life.
The formation of this aesthetic sensibility can be traced back to Koreeda's upbringing and experiences. In 1987, at the age of 25, Koreeda graduated from Waseda University in Japan. Although he initially aspired to become a novelist, he serendipitously encountered the world of cinema during his student days.
Driven by a passionate dedication to the world of film and television, Hirokazu Koreeda, fresh out of college, joined the production company "TVMANUNION" in Japan as an assistant director. His years of experience as a documentary filmmaker convinced him that the boundary between documentary and fictional storytelling is artificial, and that only the subtle emotions flowing beneath calmness hold eternal significance.
In addition to his work in documentaries, another significant influence on Koreeda's current film style is Hou Hsiao-Hsien. In 1993, while shooting a documentary titled "When the Movies Talked about Time: Hou Hsiao-Hsien and Edward Yang" for Fuji TV, Koreeda met Taiwanese director Hou Hsiao-Hsien, and the two embarked on a mentor-like friendship that lasted for over two decades.
When discussing the impact of Hou Hsiao-Hsien on his own work, Koreeda candidly states that it was Hou's film "A City of Sadness" that firmly set him on the path of filmmaking.
In Hou Hsiao-Hsien's films, the characters' emotions are often portrayed in a restrained and subtle manner, predominantly through long shots capturing natural landscapes. A representative composition involves presenting the characters as minuscule elements within the vastness of the world, with the accompanying scenery taking the forefront in the frame.
This unique relationship between characters and their surroundings embodies Hou Hsiao-Hsien's aesthetic sensibility of "emotion within the world." Emotions are infused into the scenery while the scenery serves as a backdrop to the emotions. By objectively integrating the individual's insignificance into the grandeur of the world, his films offer an aesthetic experience of contemplation of life. The natural expanse and magnificence correspond to the complexities and mysteries of life. Hou Hsiao-Hsien's cinematic language serves as a reflection of his philosophical outlook on life and a natural expression of his worldview.
In ancient Chinese philosophy, there is a concept of the unity between heaven and humanity, as well as the interaction between them. There is a well-known ancient poem that goes, " Blooms can move tears from a heart-broken man;Twittering birds can astound parting souls."
In Hirokazu Koreeda's film “Nobody Knows”, he employs a fixed long shot to depict a scene where Akira buries his young sister. Yuki's grave is positioned at the bottom quarter of the frame, and Akira's friend, Saeko, slowly enters from the lower right corner of the frame. She picks a wildflower and places it in front of the grave. Akira then enters from the left, placing a stone in the same position. Both of them bow their heads, standing silently in front of the Yuki's grave. The entire sequence unfolds in silence, conveying a profound sense of emotion and connection without words.
In the panoramic frame, the vulnerable and helpless figures of the children contrast with the serene night, magnifying the visual conflict between their deep inside and the social environment to the extreme.
Hirokazu Koreeda intentionally refrains from portraying any tear drops for the audience. Instead, the camera is positioned at a distant gaze, and we, as viewers, can only comprehend the nuances of the scene's atmosphere and contemplate the characters' emotional shifts.
This filming technique reflects Koreeda's respect for the characters. He avoids displaying open wounds or showcasing spectacular emotions. Instead, he creates a sense of detachment, allowing the audience to observe everything unfolding before them from the perspective of an onlooker. It's like watching a thunderstorm or an earthquake, invoking empathy while providing space for introspection.
As a result, the emotional state of the audience transcends narrow personal experiences and ascends to a state of serene observation of the world and its phenomena.
If you're interested in delving deeper into the social significance and philosophical reflections behind Hirokazu Koreeda's films, please click here to continue reading.
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