"Looking out of the Cessna, do you remember the shape of the clouds?" Sometimes when I can't sleep, I try to focus on a pleasant memory until I drift into oblivion. Like Kieślowski's Talking Heads, After Life is built atop a simple premise rarely questioned by the characters. Is it even possible to isolate a memory? What if our memories are false? Would we want to live any memory, no matter how pleasant, forever?
The script reminded me of Amenabar's "The Others." Amazing subject. Amazing art direction with windows partly frosted. The end hymn (with the end credits) on the soundtrack Reveals Kore-eda's interest in Christianity as is evident in The Third Murder. What stuns me is Koe-eda's variety of original subjects chosen by him to film as writer, editor, and director.
there is no coming out from this film without feeling immensely grateful. hirokazu koreeda has created for us a redemption, that even the most mundane lives, even those that seem like they simply happen, can culminate in the eternal resonance of one, perfect memory.
A cleverly constructed comedy that requires you to BYO pathos by constantly reminding yourself 'They are dead. They are dead. They are dead.' When it became more of a movie, and one about movie-making, it lost me a little in cute quirk, but is quite effecting if you let it.
If memories were enough we might never need movies. After all, why the recreations? As if by recreating and witnessing we get the perspective needed to take "it" with us. I find something moving about Koreeda's ambitions here: the looseness, the simple setting, the willingness and doubt of participants. This time I was a little removed, denied an intimacy the subject demands. 3.5
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
[More like 4.5] This is currently the first and only of Kore-Eda's movies that I watched, therefore I might consider part of his 'style' elements of this motion picture that aren't recurring in his production. I feel like his way of depicting surreal action in a way that is both ethereal and everyday-life is key in mediating very well what is really touching in such a concept: people are more complex than memories.