depositing spheres, M-Sph-M', the sphere is a special species of money when money is reified beyond its existence as a privileged species of commodity. wenders is wrong about the mu on ozu's grave, especially revealed in herzog's vulgarity. rather than contributing to the proliferation of images, ozu made strictures, emptied out the frames, repeated canned narratives to reduce them to nothing, thus introducing real.
Would make a fine quadruple bill with Sans Soleil, Cafe Lumiere, and an Ozu of your choosing. Throw in an extra Wenders feature (The Goalie's Anxiety at the Penalty Kick, perhaps) and you'll have exquisitely killed yet another all-too-deserving night or day. I could hardly believe the soundtrack wasn't by Haruomi Hosono; its melodies and sonorities alike evoked memories of nights on galactic railroads.
A salutory warning for any film fan who goes 'in search of ...' Still, the bit with Ozu's cameraman is very moving - Ozu really inspired devotion. Also, I was wondering as I looked at the elderly Chishu Ryu who he reminded me of ... until I realised he reminded me of the younger Ryu.
Although I wish he'd spent more time interviewing the cast and crew of Ozu's films, I didn't mind the discursive quality of the documentary (but, I'm still trying to figure out why he spent so much time with the fake food makers). The "Tokyo Story" clips were too long for Ozu fans, but the last part in which he interviewed Yûharu Atsuta, Ozu's cinematographer for 35 years, was both enlightening and quite emotional.
I felt warm air breathing out of the screen onto my face...one of the best homages to a director I've ever seen. And the Herzog words are always funny and insightful...love seeing him speaking German for once...I always felt like if you turn on a film camera anywhere in Japan a film will get shot regardless of you trying. Maybe it's stupid, but that country just has a special landscape I don't know...cameras <3 Japan