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用是枝裕和的方式表達出來的日本人常說的羈絆應該是再合適不過的了。時不時看出小津安二郞的感覺，但是枝的會更平靜、溫暖，但情緒都會從畫麵裏一點一點湧出來，時不時會被感動，『活著的東西都是很費工夫的』『到最後還能夠感受到美好的東西中的美，真幸福啊！』用最溫柔的方式解開心結。

「Not every relationship is meant for marriage.」「My teacher, Katherine Watson, lived by her own definition, and would not compromise that. Not even for Wellesley. I dedicate this, my last editorial, to an extraordinary woman who lived by example and compelled us all to see the world through new eyes. By the time you read this, she'll be sailing to Europe, where I know she'll find new walls to break down and new ideas to replace them with. I've heard her called a quitter for leaving, an aimless wanderer. But not all who wander are aimless. Especially not those who seek truth beyond tradition; beyond definition; beyond the image. We'll never forget you.」

喜歡日本的一切原因都能在這部電影裏找到

留白留的太多人物也就不鮮活了 電影顯靈的時刻大部分都是小男孩的功勞 導演車內的拍攝在他爸身上有學到好多

可能是是枝裕和最平庸的一部。但喜歡是枝的終究還是會喜歡海街吧，治愈的日常，頂配的卡司和熟悉的湘南美景，看完覺得生活又美好了起來。這輩子多積點德下輩子投胎就作出生在湘南小鎮裏靜謐的美少年（nv）吧！