"Little Forest": So Much More 

The "Little Forest" series is a movie adaptation of the original work by manga artist Daisuke Igarashi. It uses simple food to convey profound philosophy of life and a return to nature aesthetic, highlighting the understated elegance and warmth of ordinary people's lives. It also reflects the Japanese "Zen" philosophy.

After high school graduation, Ichiko returned to her rural hometown because she couldn't adapt to city life. At this juncture, her longtime companion and mother departed without a farewell, leaving her to confront the quiet and familiar mountains and fields alone. This direct encounter with profound feelings of loneliness prompted her to take up farming, attempting to revive the delicious food and old way of life her mother had taught her. Young Ichiko became a solitary figure, lonely yet not devoid of hope, navigating the realms of love and family. She rode and ran alone on the countryside roads, a testament to her solitude.

From Ichiko, there is a silent life practice close to a pure belief; it also reflects many unique aspects of Japanese culture and life and the strong self-disciplined will of the Japanese people.

Japanese “Abandoned-child” Movies

Living on an island nation with poor soil and frequent earthquakes, the Japanese have long grappled with feelings of insecurity and existential uncertainty. This environment has given rise to a cultural psychology known as the "abandoned child" mentality. On one hand, there is a subconscious belief in strength and self-reliance, with a proactive nature used to ensure survival. Yet, there's also a pervasive feeling of being "abandoned children," adrift in a vast and isolating world.

Despite these challenges, there's a deep-seated understanding that life is fleeting and the ground beneath one's feet is unstable. This sense of crisis has instilled a profound appreciation for life's beauty and fleeting moments. The Japanese revere the "cherry blossom," which blooms briefly before fading away, as a symbol of this impermanence. This duality of frustration and gratitude creates a unique and nuanced cultural atmosphere and life philosophy in Japan.

Ichiko grew up relying on her mother, but when she reached adulthood, her mother abruptly left without considering her ability to fend for herself. Suddenly thrust into the ocean of life, Ichiko struggled to navigate on her own. This theme of parental abandonment is common in Japanese cinema, where children are left to face the harsh realities of life alone.

In films like "Nobody Knows," children are abandoned by their parents without explanation, forcing them to fend for themselves. The mother in the film leaves home, leaving her children to cope with their lives and yearn for her return. Despite their struggles, the children never seek help or disclose their abandonment. Tragically, the youngest sister in the film slowly starves to death at home. The resilience of these children, likened to wild grass, stands in stark contrast to the isolation and cruelty of their abandoned lives.

In "Himizu" by Sion Sono, the boy Yuichi's parents not only do not take care of him, but they often torture and beat him. It is not easy for Yuichi, who is on the verge of collapse and often self-harms, to regain his confidence and courage to live. We have no choice but to face life, perhaps only by gritting our teeth and crying out with determination, just like Yuichi. This is a rare socially conscious film in Shion Sono's works, mainly focusing on the confusion and decadence of the Japanese people after the nuclear power plant accident and the major earthquake.

"Memories of Matsuko," a movie about an abandoned child, is a prime example of this cultural phenomenon. Matsuko was never given attention or love by her father from a young age, and she lacked confidence and a sense of self-worth. She sought temporary love and support from various men but was unable to resist the cruel blows of fate, despite her exceptional appearance and strong will to live. Even though she had a remarkable appearance and a resilient spirit, she ultimately succumbed to the merciless force of destiny and died by the river.

Therefore, the ‘abandoned-child’ culture is a significant aspect of Japanese cinema that deserves attention. It subtly exists in many famous movies and serves as an essential corner of the protagonists' psychological landscapes. Their motivation for living and their inescapable abyss; their shadows and emotional burdens are also the source of their strength to persevere. Understanding these cultural backgrounds can further enhance one's comprehension and appreciation of Japanese films.

A Girl Living by Herself

Ichiko, a girl living alone in the countryside has never shed tears or spoken to anyone about her mother's departure. She remains silent and doesn't seek help, even when her neighbours and friends know about her situation and try to talk to her or help her out. She carries herself with neither humility nor arrogance, maintaining her quiet demeanor. Each day, she tends to the fields, gathers food in autumn, savors stewed meat in winter, enjoys homemade chilled rice wine in summer, and starts her mornings with bread and jam made by her own hands. At night, she listens to the sounds of the mountains. She has created a self-sustaining environment that mirrors and supports her solitude, fully embracing her unique life experiences. Like a tree, she stands silent and proud, naturally growing and reproducing, calmly resisting the harshness of fate. Moving forward, whether loved or not, with or without companionship and support, Ichiko can treasure her life, love herself, live well, appreciate each day's gifts, remain composed, and always stand firmly on her own two feet.

One day, amidst her usual stack of bills, Ichiko finds a letter from her mother, Fujiko. As she holds the small envelope, a poignant melody begins to play: "In the dark forest, the scent of water droplets can be heard if you listen closely; gentle winds blow wildly to heal wounds; sometimes, even though you don't understand anything; now that things have come to this, I want to tell you that I understand." The scene before her blurs, the out-of-focus lens contrasting with Ichiko's emotional turmoil of both excitement and tears. Riding through the mountains, the song enveloping her, Ichiko's smile slowly emerges. It's the first time we see her innermost desires, her sadness, her complex emotions, and her deep attachment to her mother clearly. Abandoned children often struggle to express themselves, never seeking help, silently enduring and digesting their pain. At this moment, the silence and loneliness in Ichiko's heart dissolve and flow out smoothly. She rides swiftly, embracing the release.

After watching "Little Forest", one cannot help but admire the incredibly tenacious Japanese spirit of life. Japanese children are trained rigorously from a young age with the concept of "crisis". They must learn not to succumb to despair when faced with life's disasters, being "thrown away" or becoming "discarded pieces" in a game of chance. Instead, they continue to strive for life with their own hands, find their own meaning, and reestablish their position and role in the world.