How does the new generation of Japanese directors break through

Japanese director Ryusuke Hamaguchi certainly has a place in the list of “hottest directors” in the international film industry over the past year. This “after 70” director stepped into the breakout period: “Accident and Imagination” and “Drive My Car” were successively selected in Berlin, Cannes International Film Festival and North American award season, and both won important awards. Their influence spread from Japan to Europe and the United States, making the world see that the new generation of Japanese directors are “breaking out”.

From Akira Kurosawa to Ryuke Haguchi

Until the rise of Chinese and Korean cinema, Japanese cinema was the representative of Asian cinema internationally. Such as Akira Kurosawa, Ozu Yasujiro, Seihan Mikio, Imamura Changhei and other directors have long been internationally famous, “Seven Samurai”, “Chaos”, “Tokyo Story” and other films have become classic works. Nearly three decades later, The Japanese film industry is still producing high-quality commercial films and independent art-house films, but it has been overshadowed by “upstarts” From China and South Korea, and the impression of audiences and fans is mostly stuck with the previous generation of directors, such as Takeshi Kitano and Hayao Miyazaki. In fact, the Japanese film with its culture and industry, has been in an orderly succession, at the end of the new one thousand, finally, Berlin international film festival in cannes again “ones”, kore-eda, Blackpool, sono, he straight line set, river Tian Shen ichiro and other people in the United States, with their distinctive style global audience’s affection and industry.

2008 years to make graduation work marina serpulid rise faster, in Japan, Asia and the world cinema is beyond expected o2015 years, he is “happy hour,” landing Swiss logar film festival, try a crow) in the international film industry in 2018, his “day” of cannes, began to compete for the golden palm awards, has been recognized by the severest critics of their potential. “Chance and Imagination”, a three-part collection of stories, won the Grand Jury prize at last year’s Berlin Film Festival. A few months later in Cannes, “Drive My Car” adapted from Haruki Murakami’s works showed a larger pattern and more mature skills, not only in the international harvest of a piece of praise, but also in Japan to conquer the most authoritative Japanese film Academy Awards.

Pay more attention to ordinary Japanese

In his early forties, Hamaguchi is already a master, writing and directing most of his work. He also co-wrote “Wife of a Spy” by Kiyoshi Kurosawa, another well-known Japanese director, showing his mastery of historical themes and definitions of cinematic imagery. Larger and older than shore mouth serpulid round of Blackpool, actually has long been one of Japan’s leading director and international film festival, he works in 1997 (X holy governance “has been” shocked “a lot of fans,” the loop “atonement” shore sonata “thriller suspense design unique, such as daily life are apt to appear in” Tokyo sonata “real and thick.

Kore-eda is more concerned with Social problems and the psychology of ordinary people in Japan. From “Nobody Knows”, which focuses on abandoned children, “Like Father, Like Son”, about the adoption system and father-son relationship, “Walk To Stop”, about the emotions of three generations of family, “Hai Street Diary”, which is deeply sisterly, to “Shothieves”, which won the Golden Palm Tung Prize in Cannes, Kore-eda’s works show concern for ordinary Japanese people. The humanistic and humanitarian spirit is enough to infect audiences in other countries.

Don’t follow in the footsteps of your predecessors

Also in the international film circle won praise, there are female director He Han Zhi Mei. Her works are more artistic, with a feminine sense of delicacy and self-exploration consciousness. Saro Double Tree, Moon of Vermilion and Light reflect Japanese people’s thoughts on time and life. The Taste of Chengsha reflects the dignity of craftsmen from the most common Japanese snack, tongyaki. In addition, Hiroya Ishii, who created the craftsman spirit in The story of Making a Boat, is also an admirable “post-80s” Japanese director.

There are also plenty of days when a certain director, such as Hang Jung-hoon, who made the star-studded “Year of The North” and whose latest work, “Theatre” and “A Rat’s Cheese Dream”, moves audiences with “real and cruel” love. Eccentric director Shinjiro Ueda’s Don’t Stop the Camera breaks genre rules by taking a behind-the-scenes approach.

Compared with their predecessors, these new generation Japanese directors generally pay more attention to individuals and integrate their own perspectives into daily life. At the same time, they inherit the style of ozu Yasjiro and other predecessors, and have a more natural and detailed thinking on the grafting of Japanese traditional culture and contemporary spirit.