Kore-eda's bread and butter is a magnificent recipe that he tweeks a little bit each time and we're always here for seconds. Family dramas without melodramas is something I can't get tired of. But this especially wonderful cast (Kirin Kiki!!) would be cinematic catnip doing anything.
After The Storm presents the reality of dreams, marriage & life. Although I appreciated the message Koreeda sends us at the end of the film, I felt that this film in particular spent too much unnecessary time on building up the main character’s personality. And much lesser of the conflict itself. This may be Koreeda’s style, I felt a little sad that his slow-paced style turned into boredom for me.
Familiar territory, but what do we want, perpetual disorientation? As it happens, there's usually more than enough of the latter hiding in plain old, same old sight, if we look closely at it while we live there. Kore-Eda looks closely, so we feel keenly the quotidian strangeness of being these particular characters, arrayed around a formerly promising novelist turned stymied manchild, all pursuing something passing.
The delicate art of filmmaking is subtil as can be when you have Kore-Eda as director. A lot is not said, you have to pay attention to details. All together it is very modest and emotional at the same time. Almost no music (there used to be no music at all in his earlier films) and just the repetition of everyday life. His art becomes more and more mainstream but doesn´t lose its strenght. Modern Ozu.
I'm tired of wretched and sentimental men being wretched and sentimental, though Koreeda has a very keen ear for dialogue. It is, however, worth watch for the generous performance by Kirin Kiki. Recently I've really started to appreciate my own grandmas, one of whom is an octogenarian and the other now a nonagenarian, so I would have rather watched a film focusing on Ryôta's mother, rather than Ryôta.
Kore-eda makes films with such startling clarity that I often half suspect they must be a cop out. No such luck, here we have a bleak low-life drama which engages the canon of detective fiction in ways the film prob won't receive credit for. As in the tropes are all true, writing gambling wash-out, it's the cases that are hollowed out, boring. Final stretch is a touch tidy, constrained in a way the film hasn't been.
Uno scrittore in crisi, una madre rancorosa ed una nonna affettuosa rendono omaggio ad i classici racconti del Maestro Ozu, tramite lo stile sopraffino di Kore-eda. Non tutti i mali vengon per nuocere e non tutti i tifoni arrecano danni, questo spiega il film, mentre una tempesta riassembla parzialmente i pezzi di tre vite che sembravano ormai lontane tra loro. Un storia semplice ma efficace, in vero stile nipponico.
As many pointed out, the plot itself 'goes nowhere'. Yet, there's nothing wrong in being so plain and inconclusive: its essence is the main character's approach to life. The director makes him say and realise what should be one's approach to dreams and objectives in life, through a movie whose voice is calm and reassuring in a harsh world that doesn't run away from reality - helped by great composition and composure.
J'arrive pas à retrouver, personnellement, la beauté incroyable philosophique et empathique d'Air Doll et Nobody knows. Le secret a disparu de son oeuvre pour laisser place à des films plus artificiels, où la construction des films deviennent beaucoup plus apparentes. Par ailleurs, la cruauté des rapports familiaux dans des univers douceâtres est subtile mais un peu faux! Des beaux moments de grâce de la mère!
Traversée d'une grande et diffuse tendresse pour ses personnages qui se frottent à un présent quelque peu rébarbatif voire hostile, souvent désarçonnés par un passé plus harmonieux, cette bienheureuse réalisation du grand cinéaste nippon débouche sur une vision douce-amère de l'existence, quelquefois hantée par les incertitudes et les regrets, mais bien plus optimiste que dans les opus précédents. www.cinefiches.com
Seems like Kore-eda's Ozu rips come and go like the seasons these days—that is, each of his family dramas, much like each spring, is both immediately comparable and subtly distinct from the one before it. It won't take you long to realize that the "storm" of the title is a divorce, but Kore-eda's perspective pacifies schmaltzy melodrama into melancholy and blissful observation. Not one of his best, but well worth it.