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А в контексте фильма - то, что Какеру садит дерево практически в воротах, и отправляется делать то, что означает иероглиф дерева в воротах.

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He points to a moment where young actor Rimu Kuwaki, who portrays the robot, gently placed his palms on the head of Ayase as she knelt to help him fasten his shoes. “I initially asked Rimu to place his hands on her shoulder, but his spontaneous gesture proved to be far more moving, so I kept it in the final cut.”

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First, I think, is a human’s capacity to imagine what is invisible. So to create through their imagination, to imagine. The second being a physicality, a certain type of physicality or being in the body that is particular to being human. And the third is the ability to accept something that is not black and white, something that is vague. <...> If robots are suddenly able to have the capacity for one or more of these three things, then I think that suddenly it negates what we are as human, and I think that would be a true dystopic ending. <...> I would add the fact that we can enjoy non-productivity. I think that right now, whether in work or life, there’s tremendous value placed on productivity, particularly economic productivity. Everything is about trying to get more done in quicker, more efficient ways. And I think that if we chase that, then of course we’re going to lose to AI. We can’t do anything as quick or as efficiently as AI sometimes. I think that filmmaking is an art where non-productivity can be appreciated. <...> To give you an example, not all of my films, but this film in particular, we’ve shot on film, we shot on 35 millimeter.

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As if as a deliberate artistic statement against this digital encroachment, Koreeda strictly cast real human child actors, completely refusing to employ CGI or AI to generate the humanoid’s features. Even the complex sequence where a technician opens up the child robot for internal repair relied entirely on a physical, handmade prop.

Цитата:
I came across that in a book I was reading by the architect Ryue Nishizawa, who is mentioned in the film. I was reading some of his writings, and he said that in architecture, the most important things are the things you can’t see. It came back again in the film, and the idea that what’s most important for the parents is not when they can actually see what looks like their son in a physical form, but rather when he leaves them, and they are able once again to imagine their son in the trees in the garden. For humans, it is more important and beautiful to imagine new possibilities rather than keep their love in the realm of memory. This is the story of them coming to realize that.

I think in the past, human beings were also connected in this way. Even if it was not a 1:1 ratio with trees, human beings connected through their imaginations. With this film, I wanted to set out whether that way of connecting–through our imaginations – is something that we’re still able to do or whether we’ve lost that ability, and how we might relearn that muscle.

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There’s always someone missing in the family, and then somehow they’re replaced with another presence. So someone else fills that missing spot. For instance, when my father passed away soon after I became a father, there’s this process of almost like a relay where you’re passing on the baton, and the vessel for that activity is the family. It really isn’t until you lose a member of the family that you suddenly become aware of their presence to begin with. When they’re still around, you’re not that aware.

It’s not that my memories are overwritten, but certainly I’ve modeled certain characters or overlapped characters with the idea of a father figure or a mother figure to create these characters that in turn become a kind of memorialization. I’m borrowing the format of fiction to memorialize these figures, like my parents. It’s a way to try to understand them once more, but also to create some kind of objectivity and objective distance. I think that those images that I’ve created in that process have fed back into my memories of my parents. That wasn’t intentional, but that has happened. In particular, I’ve experienced that with my father. I think I’ve also been able to accomplish that kind of forgiveness toward him through the process of depicting father figures.

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The couple are each living a different kind of regret over losing their child. For the mother, in one sense, it’s very clear. It’s that she once told him, I want to stop being your mom. She carries an intense regret about what she said to Kakeru. The husband carries a regret about what he could not say, which is that he was sorry. They have these different sources of regret, and they’re unable to share them with each other. Now that they’ve been given this chance to redo the family with the humanoid, I wanted it to come more and more into focus how each of them carries a different shape of regret.

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I’m not sure how well I managed to achieve this, but I thought if the role of that humanoid was to show up, assuage their guilt, and then disappear again, that would be very convenient. But at the same time, if he shows up, gets them to face up to their guilt, and then disappears again, that would be quite cruel.

So I wanted him to show up and get them to somehow face up to their guilt, but then I started thinking about what it is about his presence that allows them to be healed. I think it’s because this boy grows up to become an architect in a sense, but influencing both of those parents, he becomes a new kind of architect, and in that sense, he’s turning the guilt of the past into something positive for the future. The humanoid has the idea of building his own house, and his parents have both contributed to his being able to do so.

It’s a new step, a new possibility that goes beyond the guilt, and that’s what the scene where the three of them are standing with their backs to us looking at the tree is - that’s the way that I hope the audience will take that scene.

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While Koreeda refrains from imposing a definitive moral stance on the audience, his beautifully crafted narrative leaves a lingering question: in an age where technology can simulate the voices of those we have lost, how much of our own humanity are we willing to surrender to the machine?

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For me, in order to depict a family drama where a dead family member is brought back to life and reintroduced into that family dynamic, I needed to be able to use the framework of science fiction. So I was never thinking about making a genre film in that respect; it is, first and foremost, a family drama. I'm just using science fiction as a tool to tell that story.

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I struggled right up until the final editing stage with how to strike a balance between the story from the adults’ perspective and the story of the humanoids - for example, how they become independent and form their own communities. In the end, I ended up gradually cutting back on the children’s storylines. That was something I really struggled with.

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But in the movie, when you think of AI as the central theme, I imagine that AI would probably aim to form a community that doesn’t involve humans - much like stray cats.

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He’s not Christ - I mean, he’s definitely not Christ—but he comes and goes... Hmm, well. I can’t quite find the right words, but I was aware of that (Christ-like) element.

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У Ган — персонаж китайской мифологии, приговоренный к непрестанной рубке дерева османтус на Луне, которое затем вырастает снова. Причины приговора разнятся по источникам. Из-за схожести сюжетов У Гана иногда называют «китайским Сизифом». В китайском языке существует чэнъюй «У Ган рубит дерево», который примерно соответствует в русском языке выражению «сизифов труд», в значении бессмысленного непрекращающегося труда.

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In China, it is also called Jiuli Xiang, which comes from the fact that its fragrance can be heard over long distances.

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It is native to China. Only male plants were introduced to Japan during the Edo period (around the 17th century); as they do not bear fruit, they were propagated throughout the country via cuttings.

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Since it grows quickly, planting it in the garden is preferable to using a pot; however, if you do grow it in a pot, choose the largest one possible.

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It is a seasonal word for autumn.

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The language of flowers associates the osmanthus with "first love," "ecstasy," "humility," and "truth."

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Koreeda is quick to point out that he wrote humanoid Kakeru to “develop and grow faster than a human child does,” which results in some deeply philosophical — and sometimes unsettling — exchanges within the new nuclear family.

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Owing to the time at which Osmanthus fragrans flowers, 'cassia' wine is the traditional choice for the "reunion wine" drunk during the Mid-Autumn Festival. Because of the homophony <...> osmanthus wine is also a traditional gift for birthdays in China.

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Цитата:
Sheep in the Box