Trust the shot. That is a lesson not enough film directors have learnt, and one that explains why Ozu, more than half a century after his death, remains one of the great storytellers of cinema. https://medium.com/the-flickering-wall/trust-the-shot-the-japanese-zen-master-said-6f738eb16cfe
Obsessed with how Ozu shoots interiors, performance spaces where his characters, in their mannered, poised ways, move through his deceptively simple scripts. This doesn’t necessarily register immediately — there’s an ordinariness to his plots that can feel dull, repetitive — but then that last scene hits and you’re like, “Fuck, I feel everything.”
3-4. Conflict is a tad 'late' as far as when it springs up, and it's a bit hard to tell where it lands morally. Noriko appears to have something of a Freudian situation with her father, but it is quietly tragic in the way Noriko and her father are divided by the system of progress that moves Japan toward its future while caring nothing for individual loneliness. Setsuko Hara gives a very impactful performance, too.
This is one of the best (of Ozu's) films I've ever seen (Tokyo Story still being Ozu's masterpiece).Both Setsuko Hara and Chishu Ryu's performances are flawless & complete, I felt Noriko and her father were real people I knew by the end. I connected with Noriko's struggle as a similar (yet very different) occurrence happened to me forcing me to move out. I've not seen a better illustration of tradition vs. modernity.