从题材到影像风格,是枝裕和每每让人想起小津安二郎。但对于“小津接班人”的说法,是枝裕和总是矢口否认。《晚春》(1949)里,女儿出嫁,父亲削苹果,突然停住——抬头削苹果,低头思丫头!父女情深表达得如此真挚、细腻,放眼世界,唯有小津。除却这些细节上的火花,小津的作品美得太空洞,人物太扁平。很可能是这一点,让是枝裕和的风格更倾向于表现复杂人性的成 From the theme to the image style, it is often reminiscent of Ozu Ojiro. But for “Ozu Tsukasa successor ” argument, it is Tsukamoto always denied. In Late Spring (1949), her daughter was married and her father cut an apple and suddenly stopped - looking down at the apple and looking down at her girl! My father and daughter express so sincere and delicate, looking at the world, only Ozu. In addition to the sparks on these details, Ozu works are too hollow and the characters are too flat. This is likely to be the point where the style of Hiroyuki Akira tends to be more complex than human nature