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Ein Herbstnachmittag

秋刀魚の味 | Sanma no aji

Japan, 1962

Darum geht's

Though the widower Shuhei (frequent Ozu leading man Chishu Ryu) has been living comfortably for years with his grown daughter, a series of events leads him to accept and encourage her marriage and departure from their home.

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Ein Herbstnachmittag Regie Yasujirô Ozu
When I first saw it, it didn’t really knock me out in the way that other films did, but I couldn’t get it out of my head. I couldn’t figure out how it worked: the camera never moves, the compositions are the same, the person is the same size and looking right at the camera. But Ozu is able to create that rhythm.
November 24, 2016
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There’s never a big emotional moment—the most outspoken character is Koichi’s wife, who really doesn’t want him to buy some used golf clubs—and anyone seeking intense catharsis will likely be disappointed. But the sense of piercing sadness grows, and it’s somehow bleakly appropriate that the final image in Ozu’s final film shows a man sitting alone, his head slightly bowed, accepting a great loss.
February 18, 2015
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Ozu sees that cultural constraints pollute a more imaginative envisioning of historical destiny and An Autumn Afternoon gets to the core of these matters with more acuity and kind-hearted melancholy than any other post-war film of Ozu’s career.
February 17, 2015
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