On John's Wall
I respect your opinions as well and I've enjoyed the discussion. I do understand the "style over substance" criticism, and I'm curious to re-watch his films to see if my views would change. I'm curious to know if strong narrative (or any narrative at all) are essential for you, or can you appreciate films where narratives are secondary or even irrelevant. Btw, just for clarification, by "situational" I meant a simple type of (universal setting). In ITMFL, two married people are drawn together (fall in love?) when they're spouses are cheating on them. That's not much of a plot or story. Hence, my use of the term situational to describe it. *Tokyo Story* is like that, too: aging parents visit their adult children for what could be the last time. It's not much of a story or it's a very basic one. My guess is that this is a common criticism from people who don't "get" Ozu. I also mentioned Nanni Morretti's(sp?) *A Son's Room* (which basically shows a family dealing with a loss of a loved one) *Sunrise* and *L'Atalante*. I mighave add *In the Bedroom* to the mix, too. Have you seen these films? I don't know if this description is accurate, but it's the way I've understood some of these films. I think it's fascinating approach, especially when it works. When it doesn't work, you sort of feel like, "What's the point?"