Padres ausentes: el cine de Kore-eda Hirokazu.

Throughout the filmography of the Japanese filmmaker Kore-eda Hirokazu a series of themes related to death, memory or assumption of the loss are repeated, often in relation to the father figure. From Dare mo (Nobody Knows, 2004) through Aruitemo aruitemo (Still Walking, 2008), Kiseki (I wish, 2011), Soshite chichi ni naru (Like Father like Son, 2013), Umimachi Diary (Our Little Sister, 2015), to the last released film Umi yorimo mada fukaku (After the Storm, 2016), we find an absent father that causes a number of everyday dramatic disasters in the lives of his relatives. Kore-eda is usually compared to the classic filmmaker Ozu Yasujiro for his sober mise-enscene, a mythomania often fed by the same Kore-eda; but beyond this influence, where has the symbolic father of his master's films gone? In this analysis I am going to interpret some representative scenes of symbolic violence that this absence provokes in the child. [ABSTRACT FROM AUTHOR]