In After Life
In After Life, Koreeda Hirokazu film’s strategy, especially the cinematography, is exceptionally intriguing and unique. It is extremely descriptive about Koreeda’s style in delineating memory or reality. Throughout the interviews of each individual about what memory to choose and create into a movie, the scene centers around the headshot of the individual being met, so they are confronting the audience. This basically obscures the presence of Mochizuki, Shiori or whoever is interviewing the individual making it as though the characters were conversing with the audience, enlightening them concerning the memory themselves without a brutal intercession of a medium. The picture in the scene, which would be the headshot of each individual being interviewed, is extremely constrained, however its refusal to solidly speak to the memory makes it so intense in that the audience is given such a great amount of intensity as to envision what truly happened at that point. In the same way as other Japanese producers do, Koreeda utilizes the influence of restricted or non-portrayal with the goal that the remake of the memory would not confine the lack of the “real experience”. By incorporating this specific style, Koreeda gives the audience an exceptionally dynamic insight job of the film. It does not just give pictures to the audience to feel and see yet additionally includes the audience in the film making process. The finished result of the movies made were not in any case appeared. Koreeda’s portrayal style declines to restrict the lavishness of the experience and the likelihood for imagination.