The entertainment industry has never lacked newcomers, but the lack of newcomers with deep backgrounds and resources against the sky, if they carry the label of "star second generation", the attention and exposure rate will naturally not be too low. This can be seen in Mitsuki Kimura.
His father was Takuya Kimura, an Asian male god, who was ranked first among Japan's most popular males for 15 consecutive years. Her mother was Shizuka Kudo, a generation of singers who swept all over Japan.
Kimura Mitsuki, who was born with the aura of "Japan's strongest star ii generation", announced his debut as a model at the age of 15, and the news triggered a hot discussion on social platforms at home and abroad, and the scenery swept the major media pages in Japan.
In the more than a year since his debut, Koki's career development has been smooth. The only slot point is probably that he has never starred in a movie but can win the "Rising Star" award at the film awards ceremony held by the fashion magazine, which triggers the Bombardment of Japanese netizens, "Are the media crazy?" "What about relying on the strength of your parents to ascend to the throne?" And so on.
Therefore, if the "second generation of stars" wants to break the public's stereotype of "relying on their parents to ascend to the throne", they still need strength and works to justify their own names.
The new generation of Japanese actresses who are also "star second generation" are well versed in this way, and she debuted in a TV series at the age of 21, and her first time as a film heroine, she won the Best Newcomer Award at the Japan Academy Awards, known as the "Japanese Oscar", with her smart acting skills.
Both parents are powerful and popular artists in the Japanese show business. His father, Toyo Mizutani, won the Japan Academy Award for Best Actor in 1976 for "The Murderer of Youth", and was the youngest film emperor in history at that time. Her mother, Itoran, debuted as a member of the girl group, singing and dancing well, and was called the originator of the Japanese girl idol group.
Rather than relying on his parents' aura to gain attention, Quli chose a more challenging but also more solid path.
And the film that makes her show her good strength is precisely in the joy of premiering the network-wide "Only Love Can Make Me Survive". Although it is a love theme, he also partners with Japan's "fresh meat movie emperor" Sugata Shohui, but the heroine played by Qu li is not the conventional setting of xiaoxinfeng to talk about love.
This heroine Ningzi, who is happy to run naked, roars or even smashes things when he is unhappy, suffers from bipolar disorder and suffers from the ridicule and exclusion of her boyfriend's ex, is an extremely difficult role to grasp.
Few lines, most of the highlights are focused on internal and physical performance, psychological activities are complex, and tantrums are lost when they disagree. If the performance is not proper, it may create the effect of roaring and roaring in the picture below...
As a newcomer actor, Quli's interpretation lies in seeking truth, integrating himself into the plot to experience the emotional development and psychological changes of the characters.
The restoration of life scenes in Japanese film and television works has always been natural. Although the home under the warm yellow light is crowded and chaotic, it is full of life, with dishes and chopsticks placed at random, quilts that are always piled on the ground, alarm clocks set for fear of drowsiness and mistakes... The set design is in line with the character of the character, creating a mournful and authentic atmosphere of life.
In such a natural environment, Quli reasonably deduces the mentality of a person who has lived at home for a long time, who is resistant to society and unfamiliar environments, but still eager to integrate.
The patience of stepping into the supermarket and trying to buy ingredients to make dinner for her boyfriend is consumed by sold-out beef and accidentally broken eggs. Back in the empty home, she encountered a tripping power outage and the bad idea of not being able to find a mobile phone, and a series of blows made Ning Zi restrain her emotions for a day to reach the critical point of the outbreak.
She shook her hands in an attempt to calm her emotions by lighting a cigarette, collapsed and shouted in the darkness, collapsed on the ground with her eyes blank, like every young man hit by the small and trivial troubles of life.
Compared with the plot, this scene is more like a true portrayal of the daily collapse of urban youth, so the interpretation of restoring life can resonate with the audience more.
As a bipolar patient, it is rare to be able to overcome psychological barriers to go to work normally, not to mention the misunderstanding of depression and the seemingly caring greetings that divide boundaries.
Ning Zi tried to reach a consensus with "normal people" but always self-defeating, and after sharing his life experience and never getting a response, he gradually realized that the gap between himself and the world had not narrowed, disappointment and fear swept in, and his emotions began to get out of control.
From the initial solitude in a small space to try to convince themselves, to the call to the boyfriend for help, and finally the emotional outburst broke out of the door, the whole process of running freely in the street, the body movements and facial expressions in the fun matched, and the emotional explosion scene was handled in a clear layer.
In addition to challenging complex roles for the first time as a heroine, Kirito's interaction with Sugata Shoki is not as jerky. Whether it is the early stage of torturing the boyfriend due to illness, or trying to change their own understanding of each other's attempts, they vividly portray the image of a girl who guards love.
"You have to think as intensely as I do, drain my energy, and go through it all with me."
At the end of the film, a rooftop confession scene re-examines the relationship between the two.
It seems to be a one-man show of Ning Zi alone, but in fact, two people have never given up the growth journey of being close to each other, and the attachment relationship of redemption and salvation has also become clear into a stable companionship that encourages each other to step out of their comfort zone.
"A great film that really goes into the sensitive and fragile heart of a depressed person." The evaluation is not only a recognition of the film, but also an affirmation of the flexible interpretation of fun.
Returning to the questions raised at the beginning of the article, whether it is Kimura Mitsuki or Quri, or Chen Feiyu Ouyang Nana, who has become popular in China in recent years, etc.
Compared with other newcomers in the show business circle, these "star second generations" who debuted with top resources still need to smoothly get out of the protective circle formed by the aura of their parents with their own efforts and works.