As much a film about accepting grief as accepting death—of being perpetually, profoundly melancholic in a beautiful world. Koreeda's long shots not only provide an aesthetic answer to the film's philosophical premise but also establish a respectful distance from Esumi's protagonist: it's formalist cinema of a humble and deeply compassionate nature.
电话亭和信和:210.33.126.151
本片的運鏡和神經病一般的氣質都有一種強烈的Lars von Trier的氣息本質上和四年前的第四張畫沒有太大的區別安迷修被雷狮强行掰腿图片都是以父、母、自身的缺席為母題（從缺失自我描繪的畫紙到失去魂魄的人肉載體）
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