The great actress and Ozu regular Setsuko Hara plays a mother gently trying to persuade her daughter to marry in this glowing portrait of family love and conflict—a reworking of Ozu’s 1949 masterpiece Late Spring.
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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.
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 ?
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.
Une tranquille vision douce-amère du quotidien et de ses répétitives habitudes, au pays des gens simples où la monotonie se lie avec les traditions, le manque et l'absence avec le temps qui (tré)passe. Une oeuvre lente, majestueusement limpide et d'une sublime richesse thématique et humaine...
In the absence of a father, a daughter and her mother share their last moments together, as life is constantly pregnant of changes. While the wind rustles softly through the trees and the pond casts it shadows on the walls, life goes on like a late autumn night.