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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Review: I Wish



I Wish
, a tale of two young brothers separated by their estranged parents who wish for their family to be reunited and happy, is a rare gem of a little film, the kind of film adult cinema lovers will enjoy for its quiet beauty and keen understanding of childhood, but that older kids might appreciate as well. While writer-director Hirokazu Koreeda has clearly made a film about children intended for adults, I Wish could also be a great choice for introducing older kids to a film with subtitles — and to the concept that a story about kids doesn’t have to be action packed or have aliens or zombies or lots of explosions to be worth watching. The themes here around family, loss and forgiveness are universal, and kids from any culture can easily relate to the ways in which we grownups complicate their young lives.

Koichi (Koki Maeda) and his younger brother Ryu (Oshiro Maeda) have separated for six months, with Koichi living with their mother on one end of the island and Ryu on the other with their father. The two boys maintain communication via cell phone conversations which are so well-conceived they could be used in a master class on how to write this kind of dialogue. It’s heart-rending and lovely, as is almost everything about this film. When a new bullet train line is built, the two brothers get it in their heads that at the very moment the opposite trains pass each other for the first time, you can make a wish and it will come true. With a pack of friends eager to make their own wishes, Koichi and Ryu try the only way they can think of to reunite their family.

It’s a simple enough story, but Koreeda’s writing makes it delicately complex as he interweaves subplot and character to create this realistically flawed, yet hopeful family. I always think it’s rather ballsy for a writer-director to filter a feature-length film through the perspective of a character who’s a child. It’s a tricksy thing to pull off, relying on a kid (or kids) to carry your entire film, but Koreeda also displays an able hand working with his engaging young actors, who charm in every frame.

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”