Matt Cooper Films

Like Father, Like Son (2013)

Given the wrong children at birth, two sets of parents are left with the overwhelming decision: to exchange their six year-old sons, Keita and Ryusei, re-uniting them with their biological parents, or to choose the child they have raised for six years. Through this tragic occurrence we are given an insight into the lives of the two young boys and their parents.

Written and directed by Hirokazu Koreeda, this film features many of his trademarks, from the focus on family and parenthood, down to minute details of small-talk about fireworks, a sense of the passing seasons, railway crossings, and an instantly recognizable “clean” directorial style. We are undoubtedly in Koreeda’s world once again, and that means nothing short of brilliance. This is by far one of the most heartbreaking of his films, as we witness the tortuous decision the two sets of parents have to make. Every character, mothers, fathers, and children is put through the emotional wringer. Towards the end you cannot help but be moved by the situation they find themselves unwittingly in. The film offers plenty of food for thought, with both sets of parents (particularly the fathers) being very different, one strict and work-orientated, the other carefree and family-focused. This allows for an exploration of the nature versus nurture debate, the extent to which our lives are pre-destined dependant on our circumstances at birth, as well as many more discussions of parenthood, and in particular fatherhood. The casting and acting is spot-on, and the two young boys do a great job. Needless to say, as with most Koreeda films, the direction and music lead you through the film’s delicately constructed world, leaving little to complain about.

The film does a fine job of giving every character enough time to breath, you feel especially for the mother of Keita, but the real focus is Keita’s father. This hardworking businessman presents a touching portrayal of fatherhood as he struggles to connect with either son. I cannot recommend this film enough. I found it captivating, with believably nuanced characters, poignant story, and fantastic acting.

Matt Cooper Films

I Wish (2011) by Hirokazu Koreeda

The story of two brothers separated, one in Kagoshima, one in Fukuoka, after the breakdown of their parents relationship. The elder brother, who lives with his mother and in the shadow of an active volcano that regularly showers the town with ash, wishes for their parents to be re-united, and for their family to live together again. The younger brother, living with his musician father, has no such aspirations, being content with his life.

Hirokazu Koreeda is a master of the family drama, perfectly capturing the subtle complexities of interpersonal relationships, and provoking sympathy without resorting to overt sentimentality. The story, written by Koreeda, hinges around the ‘miracle’ (which is the Japanese title of the film) that occurs when two Shinkansen trains pass one another. It is said that if you witness this and make a wish, it is sure to come true. While this is the only discernible plot, it is clear that it is only a means to an end, providing a motivation for the characters and a reason for following their lives for this short period. Along the way, Koreeda creates such a full, vibrant, and true-to-life world, that the story soon becomes secondary to the characters. This is emphasised by the direction, which takes us to the heart of the drama. One particularly memorable scene is when the children are telling their wishes to each other. It is filmed in the style of an intimate video diary, creating a sense of realism that the rest of the film also strives to capture. The young actors do a fine job, bringing a youthful energy to their roles and the believable hopefulness and naiveté necessary to tell this story. The two brothers are played by real-life brothers, Koki Maeda and Oshiro Maeda. It is said that Koreeda did not complete the script until the actors were cast and this is apparent from the way each of them seem to perfectly embody their characters. I would give equal credit to both the writing and acting in developing rounded characters, who never fall into cliché.

Koreeda films tend to shun typical action and big moments, being less plot-oriented than many others. Instead what he gives you is life itself, without pretence or artifice. Moments of realisation are peppered throughout, just as in life, and his gentle, generally positive outlook on the world is infectious, creating a feel-good film for all. As with other Koreeda films, this feels less like watching characters go through some convoluted plot, but rather it feels like spending time with real people, with their hopes, dreams and fears.

Matt Cooper Films

Nobody Knows (2004) by Hirokazu Koreeda

A young single mother, Keiko, moves into a new apartment with her four children, Akira, Kyoko, Shigeru and Yuki, transporting the younger children in suitcases and letting Kyoko take the train so they won’t be discovered (as they were evicted from their last apartment for being noisy). The children are all of different fathers and Keiko is looking for a new boyfriend who will pay for them all. One day Keiko abandons the children with an envelope of Akira, only 12 years old, to take care of the others indefinitely. The film shows the children’s life after their mother leaves and what happens to them.

The film is very well directed and the four young actors, who carry the weight of the film, are exceptional. You really feel for them as their situation goes from bad to unbearable. The main criticism of the film would be that the pacing is very slow, perhaps intentionally to build a feeling of helplessness and grinding tedium the kids are experiencing cooped up in the apartment, but lacking any real goal or direction means the audience is required to have a great deal of patience to see the film through to the end. The other problem with the film is that it doesn’t show the full horror of their predicament. This film is based on a famous 1988 case of abandoned children, the details of which are more harrowing and disturbing than they are portrayed in the film. The music, which seems at times to be almost whimsical and light hearted, along with a few scenes of the children playing and having fun, almost undermine the horrific premise of the film.

Hopefully, this film succeeds in raising awareness of this case so similar can be prevented in the future. As a narrative I found there were a few too many lulls to keep it engaging throughout, although the direction and acting were great. The issues it raises about child neglect, abandonment, the problem of the loss of the nuclear family, the plight of single mothers and perhaps the failure of government to fund prevention of these cases are all important. And while it is a noble effort I felt that the film would have benefited from a more shocking, realistic telling of the tale to really affect people.