Despite the Japanese title (which means "flames of passion") this is one of the more calm and controlled films in Yoshida's oeuvre. The scene of the 'affair' stands out for its heightened tension, but most of the film is rather detached and sobering. Although the film is relatively straightforward for Yoshida, its tranquil beauty is irresistible.
Etonnant portrait bicéphale d'une femme qui, en s'offrant à un homme de condition plus modeste que celle de son riche époux qui la considère comme son bien propre au même titre que ses possessions mobilières, se révolte contre d'abusives perceptions maritales. Mais aussi hommage identitaire et révérencieux à celle qui fut sa mère et qui assuma, elle aussi, des amours et des désirs hors classe. www.cinefiches.com
3,7 I know no other film where posthumous reassessment of a close one's life appears this borderline indecent, infantile, discourteous when it robs the deceased of rudimentary self defense, as if encroaching on foreign intimacy (whoever's!) always exudes an air of immature and impolite scatology. Consanguinity, it seems, is no excuse for any kind of prying abuse. Despite uncomfiness, Joen's never salacious but proper
The most mysterious and magnetic Yoshida film I have yet seen; a film that discards a repetitive, conventional score, for a focus on haunting, natural ambience; the wind howling through small cubby-holes, the sounds of trees in the soft breeze, or waves crashing onto the shore at night. Certainly from the same ilk as Antonioni's oeuvre, but the comparisons are not overt; this film excels on its own merits.