HHH is one of my favourite filmmakers, and his films always grown upon revision, so I'm hoping something will change, but I was not much a fan of this one. It doesn't quite have the simple elegance of Ozu's stillness and it doesn't quite have the resonant emotional impact of HHH's usually affecting imagery/music/cinematography (all of which are muted in this tribute to Ozu). HHH & Trains tho... 70/100 - Good.
Hou Hsiao-Hsien rend là un bel hommage formel à Ozu. Non seulement on retrouve l'art du maître, mais également ses thèmes de prédilections : l'incommunicabilité familiale et sociale. Derrière l'errance urbaine et humaine de Yoko, dans ce Tokyo bien plus agité que ne l'était le Tokyo d'Ozu, HHH distille avec une grande économie de moyen une part de l'immuabilité de la vie. Magique.
A really enjoyable and beautiful film, but it really missed a lot of marks for me. It felt very unfocused in an almost negative way. Just like the lead character, I thought the film felt lost and unsure of itself. I understand that the story isn't supposed to be conclusive or eventful, but it felt a bit unfulfilling. Too short for its concepts. If this is contemplative film, I wasn't given enough to contemplate.
Tribute to Ozu. Like all of Hou Hsiao-hsien’s films, Café Lumiere denies the audiences the traditional comforts of movie-going. It's an aggressively minimalist and hauntingly provocative look at Tokyo and the overall drift of the world that’s slow to reveal its secrets and beauties.
Rich with gently iterative, dream-like doublings, and suffused with a pellucid, melancholy calm, this wryly recursive contemplation of the impulse(s) to research, represent, and do homage may be the peak of serene Hou. Or so watching this last night convinced me. Experiencing films like this one has got to be just about the closest approximation of mindfulness available to nervous dreck like me.
I'm not familiar with the vernacular of Asian cinema, so I 'm not sure if I was able fully take this film in. That said, I enjoyed this understated work, full of sound, reflections of light as well as both comfortable and uncomfortable silences. The storyline woven together by scenes on, off and around Tokyo's commuter trains was a pleasant homage to the work of the Lumière brothers as well.
The laundry's dry, dinner's ready, train's here, books, doorways, doorways, doorways... Eating, drinking, driving, turning, slurping, PAN, PAN, PAN... Rain, bikes, riding, reading, telephone, fans, fans, fans... Walking, talking, trains, staring, sitting... [Sorry, I fell asleep.] What a pretty movie. " 'Dat?' "
Stereotypes suck. But there's something very, very, Asian about subtleness. A minimalistic thing that shape this movie in a beautiful way. I didn't consider it a deep kind of film, rather a piece of art which gives life's day-to-day issues a great atmosphere. Back to the stereotype. Hou Hsiao-hsien creates beauty revealing the best of Far East Asian aesthetics.
This is basically my kind of movie: simple and just about regular lives. I'd expected more from it and now that I've watched it I really wish it had focused more on Hajime's life (partly because I'm a huge Tadanobu Asano fan, but also because something about trains is so attractive to me). Overall a nice, calm film.
Dont try to look for a meaning, there is none (except maybe the train theme).This movie is pure slice of life. Watch only if you are in a really contemplative mood, otherwise you could be bored to death. I kinda see the Ozu homage, but except for the signature camera work, this movie doesn't have the wit, sharpness nor social awareness of Ozu's films.