The filmmaker as bodhisattva, deferring the apotheosis of her memory so others might achieve their own. But also as a kind of willfully permanent infant -- if the arrival of memory is a departure from the perfect timelessness that precedes it, why not resist and suspend oneself within unterminated possibility while assuming the mantle of artist-as-helpmeet, leveraging craft to foster the realization of the viewer?
While I found the execution somewhat rough on this particular film, I found it at the time of viewing, a great look into nostalgia, death, and to a certain degree, redemption.
Nobody Knows is definitely his better film, but After Life still hold a certain sentimental value for me that elevates it above his latter work.
as calm as can be - i often found myself drifting off into memories, just as the story drifts from one character to another one and sometimes, never comes back again. I felt like I was there somewhere - wondering what to choose, absorbing the "in-between" of the overall setting and wanting to go outside and after the movie I went to the river where they were shooting a German musical with ballerinas
Kore-Eda is, as a friend put it, a very "generous" director. After Life takes a high concept and makes it intimate and sorrowful. That Japanese term, "mono no aware," the feeling of wistfulness at life's fleeting nature -- that's what this gentle movie embodies.
Hay un encanto documental en "After life". La representación de la vida. La memoria como fuente de contemplación y también como fuente fílmica. Koreeda a través de una trama fantástica promueve un discurso metaficcional. Fascinante es una escena que deja al descubierto cómo la memoria no siempre será fiel, muy a pesar no se extravía la esencia de la idea. El diálogo entre no recordar y responsabilizarse de sí mismo.