我的幸福人生，由我自己描繪

北齋的女兒阿榮，嫁給了一位畫師，因為忍不住批評了丈夫的畫作，被休妻的她兩袖清風回到父親身邊。是父女，也是師徒的兩人，開始在堆滿未完成畫作的破爛長屋中共同生活。看著北齋早也畫、晚也畫，激起她重拾畫筆，不僅換骨脫胎更青出於藍，承繼大師風範不負葛飾名望。人稱「畫狂」的北齋甚至說過「說到美人圖，我還比不上阿榮呢！」阿榮獲得北齋正式賜予「葛飾應為」之名，作為一名女性浮世繪畫師，活躍於以男性為主導的江戶時代。名導大森立嗣（【日日是好日】等作品）找來金獎卡司永瀨正敏及長澤雅美，共演葛飾父女，還原兩百年前的江戶庶民風景，描繪葛飾北齋日常卻不凡的晚年，以及葛飾應為的崛起。以父女二人的相處為主軸，橫跨數十載，不僅見證了兩代畫師的傳奇信念，更揭開名作「富嶽三十六景」背後的創作歷程。葛飾應為以自由奔放的姿態馳騁於江戶時代，被譽為「日本的林布蘭」，所留下的畫作僅有數十幅，但其中宛如西洋畫般的光影與獨創性，至今仍令世人著迷。

Born as the third daughter of Katsushika Hokusai, one of the world's leading painters in Japan's ukiyo-e world, O-Ei (later Katsushika Oi) continued to support Hokusai as a disciple for about 30 years from her twenties. It is said that most of Hokusai's paintings in his later years were finished by O-Ei. He is the person who knows Hokusai's talent most closely. However, her life is still shrouded in mystery, as there are few documents about her life and she disappeared after Hokusai's death. In addition, O-Ei was a very rare female artist at the time, leaving behind ukiyo-e prints with a completely different image from Hokusai's as Katsushika Oi, a painting name bestowed on her by her father. The movie "Hokusai's Daughter" is the first Japan film to depict the life of O-Ei (Katsushika Oi). Except for painting, they were indifferent to almost everything in their lives. The image of the heroine who ran through that era as a pioneering female painter, and the dense life of a father and daughter. Depict that belief.