pull at your face with tweezers
loved this one more than the last two. possibly more adult-orientated and empathises with complex friendships and quietly rebuffing the tradition of arranged marriage in the face of organic love.
Ozu's interiors remain unmatched. delicately plated like a good ramen or a fine sushi. traditionally simple. compositionally complex.
dinner tables, bed frames, bamboo fences cropped by open windows, restaurant signs, all measuring the frame. spirit level bubble perfect.
great amount of traditional dress/kimonos on display here too.
once again, fragrant filmmaking from Ozu
this ones possibly ~too~ sentimental and is way more placid in its familydrone, also the re-using of similar actors for very similar roles (even setsuko hara's name in both is noriko!) means that Late Spring/Early Autumn feel one and the same.
not that its a great issue because Ozu's gentle spritz hangs as neatly on the wall as any calendar or bunch of dried flowers. His understanding of real life interaction can be perceived…
hot pink late night phone calls on transparent phones. supermarket murals. queer dysfunction and cathode-soaked confusion.
disillusioned gay teens wandering through a gen-x desolation posturing and fucking and over confidently stating The Facts. Ghosts of society left to die and be dead. being a teenager is hard enough, but being a queer teenage nihilist, left to wander art installations and industrial concerts and car parks and gas stations and shit jobs looking for love in Bush's Conservative America? fuck that.…