Otoño tardío | El fin del otoño

josé neves

The sound fills the interior spaces, giving a "natural" dimension to the frames, whether are birds or automobile horns; the usual restaurant where the trio of older men use to meet, is always identified by two frames of shadows of the river on the wall; the cutting images are constituted by dead and living natures in geometric perspectives.Along with Tati, Ozu is the most formalist-looking simplicity in film history.

apexa

I loved that this was a reworking of my favorite Ozu black-and-white yet I didn't even know it. Shows how Ozu is a a master of subtlety. Favorite Ozu color for me.

Bilouaustria

CINEMA, 35mm _ Ozu as formal as can be cares a lot about modernity in his late films. He reminded me here a lot of Tati (for exemple the geometry of "Playtime"). Unique filmmakers are a kind of family. And again, wonderful work with colors (small touches in a grey world, the way Tati did it). And this light music almost similar to the one played in "Mon oncle". Who would have thought France and Japan so close ?

Daniel S.

***1/2. The generational gap lies in the details: a fire extinguisher in a Buddhist temple or whisky instead of saké. Mother always smiles while she's weeping inside. Highly recommended.

Lynch/Fellini

There's a lot to love in this film, namely the balancing of colors and the brilliant comic relief. Ozu was a genius and this is proof that he never lost his way!

Jdsarmientoburgos

Frustratingly sluggish in the beginning but its quirky charm had won me over by the end of it. There was also a sweet little callback to Late Spring between Hara and Ryu.

DimasRimbaud

Reworking yg menarik. Walau ceritanya plek-plekan sama kayak Late Spring tapi tidak membosankan untuk ditonton. Setsuko Hara yg memerankan tokoh si anak di Late Spring kali ini memerankan tokoh ibu, dan beliai bisa memerankan kedua tokoh itu dengn sangat baik. Saya setuju dengn perkataan Taguchi-san yg deskripsiin Setsuko Hara di film ini like beautiful flower in the rain. Karena memang seindah itulah beliau hehe.

Pierre.F

Un film "de genre" avec des photographies et des plans toujours très découpés et très fixes qui traduisent en un langage sobre, mais surtout exigeant la réalité quotidienne de cette relation mère/fille.