After several meetings with the Saikis, Ryota observes how similar Ryusei Saiki, his biological son, is to him: the natural, assertive leadership and quickness becomes apparent, especially when contrasted with Keita, who is soft-spoken and slow to grasp concepts - but most importantly, his son of six years. The film centers around Ryota Nonomiya, a businessman who lingers in the confines of his office and neglects to spend time with his wife and non-biological son, Keita, but ensures he receives the the best possible education.
“Is it to be able to provide that child in a way that would allow him to live in a big house and receive the best education or is it the way that would make you feel loved?’ “The movie raises the question: what makes a good parent, what makes a good mother, a good father?” Konstantinovskaia said during the Q&A following the screening. In contrast, the Saikis are a clamorous, rowdy bunch - their cramped, dilapidated home is nowhere near as luxurious as the Nonomiyas’ living quarters, but fosters much more laughter and cheeriness. The sophisticated, upper middle-class Nonomiyas live in a high-rise apartment, a quiet and solemn family atmosphere. The central plot line centers on two families that discover their sons were switched after birth. Through the movie’s narrative arc, he asks whether biological relation is of any significance.
In “Like Father, Like Son,” film director Hirokazu Kore-eda explores what constitutes a family. The film was a part of the Stanford Global Studies Film Festival which aims to feature films around the world based on the theme “Friends & Family: Tales From Near and Far.”įollowing the screening, Japanese language lecturer Natalia Konstantinovskaia hosted a Q&A session for attendees. The Japanese film “Like Father, Like Son,” screened in the Geology Corner by the Center for East Asian Studies of the Stanford Global Studies Division (SGS) on July 11.
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