Like so many of this director's films this one is sweet, with just enough poignancy to earn that sweetness and elevate it to something credible and beautiful. It follows a theme similar to that of some of his subsequent films, focusing on ephemeral, seemingly banal, but ultimately profound memories from childhood. These memories could be interpreted as mundane but are instead honored as miraculous grains of sand falling through an hour glass.
To further build this theme and lend the memories resonance Kore-Eda positions them within multi-generational stories, shown through the lives of the children's parents and grandparents (a group of kids being the film's main characters). In this way the central theme is lent poignany by the looming inevitability of adulthood. In interviews the director has acknowledged that this kind of story and the associated themes are commonly perceived as sad or depressing, whereas he sees the juxtaposition of growth and loss as beautiful and miraculous, and the most human of experiences.
As I watch more of Kore-Eda's films it becomes more and more clear how his previous documentary filmmaking experience plays a significant role in his narrative films, including in the way he writes and edits them. In addition, like Our Little Sister, I Wish (the Japanese title translates more literally as Miracles) is unusual in that there is no antagonist and no traditional conflict. Both of these films drop us into a wondrous time in the lives of the childhoods of the characters. We travel with them through this moment, which lasts just several days, and leave them at the end of the film, like a train passing through a small town, catching a glimpse.
I've watched six or eight of Kore-Eda's films and have not been disappointed. He seems to be one of those directors where you can put in anything he has made and it is bound to be excellent. I highly recommend this movie to anyone who enjoys poignancy, excellent character development, subtle filmmaking, and who can experience sweetness and sentimentality without cynicism.
To further build this theme and lend the memories resonance Kore-Eda positions them within multi-generational stories, shown through the lives of the children's parents and grandparents (a group of kids being the film's main characters). In this way the central theme is lent poignany by the looming inevitability of adulthood. In interviews the director has acknowledged that this kind of story and the associated themes are commonly perceived as sad or depressing, whereas he sees the juxtaposition of growth and loss as beautiful and miraculous, and the most human of experiences.
As I watch more of Kore-Eda's films it becomes more and more clear how his previous documentary filmmaking experience plays a significant role in his narrative films, including in the way he writes and edits them. In addition, like Our Little Sister, I Wish (the Japanese title translates more literally as Miracles) is unusual in that there is no antagonist and no traditional conflict. Both of these films drop us into a wondrous time in the lives of the childhoods of the characters. We travel with them through this moment, which lasts just several days, and leave them at the end of the film, like a train passing through a small town, catching a glimpse.
I've watched six or eight of Kore-Eda's films and have not been disappointed. He seems to be one of those directors where you can put in anything he has made and it is bound to be excellent. I highly recommend this movie to anyone who enjoys poignancy, excellent character development, subtle filmmaking, and who can experience sweetness and sentimentality without cynicism.