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Umi yori mo mada fukaku (2016)

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After the death of his father, a private detective struggles to find child support money and reconnect with his son and ex-wife.

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(original story), (screenplay)
1 win & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Shinoda Ryôta
Yôko Maki ...
Shiraishi Kyôko
Satomi Kobayashi
...
(as Lily Frankie)
Sôsuke Ikematsu
Yuri Nakamura
Kazuya Takahashi
Taiyô Yoshizawa ...
Shiraishi Shingo
Rie Minemura
Izumi Matsuoka
Kanji Furutachi
Daisuke Kuroda
Shôno Hayama ...
High school student
Mickey Curtis
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Storyline

Dwelling on his past glory as a prize-winning author, Ryota (Hiroshi Abe) wastes the money he makes as a private detective on gambling and can barely pay child support. After the death of his father, his aging mother (Kirin Kiki) and beautiful ex-wife (Yoko Make) seem to be moving on with their lives. Renewing contact with his initially distrusting family, Ryota struggles to take back control of his existence and to find a lasting place in the life of his young son (Taiyo Yoshizawa) - until a stormy summer night offers them a chance to truly bond again. Written by Indiewire

Plot Summary | Add Synopsis

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Drama

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Details

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Release Date:

21 May 2016 (Japan)  »

Also Known As:

Después de la tormenta  »

Box Office

Opening Weekend:

$27,880 (USA) (17 March 2017)

Gross:

$260,461 (USA) (16 June 2017)
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Company Credits

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1.85 : 1
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Did You Know?

Trivia

This is Hirokazu Koreeda's second film whose title is taken from a pop song lyric. The original Japanese title "Umi yori mo mada fukaku" ("Even deeper than the sea") is a line from Teresa Teng's Kayokyoku (Japanese oldie pop) song "Wakare no yokan," which is heard diegetically in the film. The title of Still Walking (2008), Koreeda's earlier film, is also taken from a lyric in the Kayokyoku song "Blue Light Yokohama". See more »

Connections

References A Late Quartet (2012) See more »

Soundtracks

String Quartet No. 14 In C-Sharp Minor, Op. 131
Music composed by Ludwig van Beethoven
Performed by Juilliard String Quartet
Licensed by Sony Music Entertainment
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User Reviews

 
One of Koreeda's best films
16 October 2016 | by (Vancouver, B.C.) – See all my reviews

Fear that your children may mimic your worst qualities is the driving force in Hirokazu Koreeda's ("Our Little Sister") After the Storm (Umi yori mo mada fukaku), a compassionate look at the struggles of a Japanese family. Its title derived from the lyrics of an old pop song, the film is set in Kiyose, a city near Tokyo where it is beautifully shot in the housing compound where Koreeda grew up by cinematographer Yutaka Yamasaki. Ryota Shinoda (Hiroshi Abe, "Everest: The Summit of the Gods") is a novelist who has not had a story published in fifteen years and is forced to work for a private detective agency, which he claims is solely to do research for his next novel. Using his detective job to spy on Kyoko's new boyfriend with the help of his young detective-partner (Sosuke Ikematsu, "Mubansô"), he learns that she is dating a wealthy businessman who is intrusive in Shingo's life.

A gambling addict who squanders much of his earnings, Ryota's relationship with his young son Shingo (Taiyo Yoshizawa) is in jeopardy as his ex-wife Kyoko Shiraishi (Yoko Maki, "Like Father, Like Son") threatens to keep him from seeing Shingo until he catches up on his child support payments. The first time we see Ryota we are not impressed. He is going through his recently deceased father's private belongings to see if he can find anything that he could sell. It seems, however, that his father was also a gambler and Ryota's search might have been better conducted at the local pawn shop. While it is clear that he is not a role model for parenting, Ryota is man of considerable charm and Koreeda does not stand in judgment of his actions but depicts his travails with warmth and humor. We see that in spite of his dubious habits, his sister (Satomi Kobayashi) and his employer are both willing to lend him money.

With the help of his own mother, the spunky and very astute Yoshiko (Kirin Kiki, "Our Little Sister"), Ryota has his sights set on reuniting with Kyoko and Shingo. His love for his son is very real but he seems incapable of breaking from his demons, the same ones that dominated his father's life. Attempting to win back Shingo's love, he takes him out for a hamburger, buys him new shoes, and visits Yoshiko, the boy's beloved grandmother. Knowing that a typhoon is on the way, the family comes together to spend the night and to wrestle with the direction that their lives will take. "Why can't men ever love the present," Yoshiko wonders, highlighting an important message of the film, that people must accept the reality of how they really are.

While there is truth to the idea that we must accept who we are, there is a thin line between accepting your limitations and recognizing that you have the power to transform your life, to live the life you want rather than the life you are resigned to. Also, while the idea that sons will always take after their father is accepted without question, the reality in my experience is that sons will either take after their fathers or make very sure that they do not. After the Storm is one of Koreeda's best films and, as always, he elicits exceptional performances from children as well as brilliant takes by Kiki and Hiroshi Abe, but, in my view, its message is debatable.


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