Showing posts with label yasujiro ozu. Show all posts
Showing posts with label yasujiro ozu. Show all posts

Saturday, August 1, 2026

DISTANCE


I’ve kept this in the drafts since the first wave of C-19 and completely forgot I wrote it. My knowledge of Hirokazu Koreeda’s filmography was pretty spotty prior to 2020. I had only seen Still Walking, Shoplifters, Nobody Knows and Like Father Like Son. After Shoplifters hit me like a ton of bricks I made it my purpose to get familiar with everything he’d done up to then (to be honest - I hadn't even made the connection that he directed all the aforementioned films I'd seen). With the world being shut down and having been laid off from a profession that got hit the hardest by covid, I had nothing to do but watch movies all the time. I made it my purpose to get familiar with Koreeda's filmography. Distance became an immediate personal favorite. I’m a sucker for incredibly heavy subject manner presented in a very dry and subdued kind of way.

Somewhere between the imagery of Ozu, the tone & pacing of Bresson and a very dark event loosely based on something that really happened lies Distance - the story about the trauma left behind from the actions of a death cult. Had this movie been made by any other director there’s a strong chance it would’ve been “edgy” & exploitative. Koreeda's execution is more reserved. Instead of focusing directly on cults and suicide, Koreeda drops us in the aftermath of everything and we’re left putting the pieces together.
In Distance, we follow the family of cult members that attempted to poison Tokyo’s water supply years ago. Things didn’t go according to plan but the cult did follow through with a mass suicide. Three years later, their family members gather at the cult’s former base to observe the anniversary of their deaths (in a way - they sort of form their own cult).

Neither Ozu or Bresson would ever make a movie like this but the visual similarities and surface-level influences are undeniable to me. 

Koreeda has never shied away from shouting out Bresson's work...

L'Argent /
Distance

L’ARGENT is like a textbook, which I review before shooting each new film of mine - Hirokazu Kore-eda, thefilmstage.com

L'Argent /
Distance

L'Argent /
Distance

L'Argent / Distance



When it comes to Ozu, Koreeda is a bit more dismissive. He has acknowledged the comparisons others have made but he clearly isn't a fan...

The motif of family in STILL WALKING is similar to MABOROSI, so perhaps that’s where the Ozu comparison comes from - Hirokazu Koreeda, therumpus.net

Early Spring / Distance

Early Spring / Distance

Early Spring / Distance


I think part of the reason Koreeda dismisses/resents(?) the Ozu comparison is partially because it is a bit lazy and predictable to compare two Japanese filmmakers that make contemplative dramas. But... Distance has some serious (surface-level) Ozu imagery to me (sorry if this makes me lazy). 
I also find it funny when a legendary director like Ozu is called influential and impactful in text form only and no one questions it or asks for a specific example, but when you show countless VISUAL similarities, suddenly everyone takes issue with it or suddenly can't make the correlation.

Early Spring /
Distance

Early Spring /
Distance


Koreeda pulled the idea of the death cult and their plan to poison Tokyo’s water supply from the real events of the Aum Supreme Cult and their attempt to carry out a chemical weapons attack on the Tokyo subway in 1995. Because Distance is loosely based on this tragic event carried out by some terrible people, the movie challenges the idea of who deserves to be grieved.


 
Grief and the idea of dealing with it has become such a vague subject. Especially in film. It’s gotten to the point where every movie is about grief in some way that it sort of lessens the definition. But Distance is one of the exceptions. Not only is the film about grief and how one deals with loss, but Koreeda complicates things by making the lost loved ones cult members who planned to kill thousands. Do they deserve to be grieved by their loved ones even if they attempted to pull off an unforgivable crime? Perhaps that isn’t for anyone outside of family to decide.

Either way this movie is a quiet masterpiece that weirdly became my comfort film during the first wave of the covid lockdown. I can't recommend it enough.

Monday, April 7, 2025

PERFECT DAYS - SUPPLEMENTAL MATERIAL *UPDATED*

 

A Hen In The Wind / Perfect Days

Last year I shared my thoughts on Wim Winders' Perfect Days and it's connection to the work of Ozu (click here to read). Not every cinematic comparison could make it in to the original post. After a while, a lot of Ozu's signature shots can get pretty similar/redundant and I didn't want to repeat myself. 

Below are the cinematic parallels that I saved from the cutting room floor...

Late Spring / Perfect Days

Tokyo Twilight / Perfect Days

Tokyo Twilight / Perfect Days

Tokyo Chorus / Perfect Days

Tokyo Chorus / Perfect Days

An Autumn Afternoon / Perfect Days

A Hen In The Wind / Perfect Days

Late Spring / Perfect Days

Dragnet Girl / Perfect Days

End Of Summer / Perfect Days

End Of Summer / Perfect Days

End Of Summer / Perfect Days

Tokyo Story / Perfect Days

The Flavor Of Green Tea Over Rice / Perfect Days

An Autumn Afternoon / Perfect Days

Late Autumn / Perfect Days

Tokyo Story / Perfect Days

Equinox Flower / Perfect Days

Equinox Flower / Perfect Days

Tokyo Chorus / Perfect Days


Wednesday, December 4, 2024

A FEW WORDS ON PERFECT DAYS *UPDATED*


Wim Wenders’ latest is one of those films that’ll be miscategorized as “simple”, “light” or even “boring” to those that watch it casually or on a surface level. But beyond the time-filling hobbies and Jeanne Dielman-esque day to day routines of the film’s main character lies a heavy story about regret and making peace with the past.

Putting aside the excess baggage and semi-ambiguous family drama of the film’s main character, I find myself wanting to live the life of someone like Hirayama. He’s a simple man that takes pride in his job, loves music on cassette and spends his free time taking photographs of trees. Having outlets & serious hobbies other than your job/work/career is incredibly important to one’s sanity. I can personally attest to this. My obsession with digging for things like music & movies keeps me sane. Hirayama’s love of photography, trees, physical media and cozy local bars keeps him sane. If he didn’t have those things he would be left alone with his thoughts of loneliness and the strained relationship with his family (it should be noted that his niece does make an effort to have some kind of a relationship with him).

Under a different director, the character of Hirayama would be a cartoonish iteration of Robert Crumb or Harvey Pekar. A curmudgeon that hates his own hobbies and prefers to be alone due to his hatred of most people. But Wim Wenders shows the positive side of niche hobbies and spending time alone. 

Interestingly enough, Perfect Days is a film that plays in to my personal hobbies and healthy obsessions. On one hand, this is very much Wenders’ own movie but it also serves as a love letter to one Yasujiro Ozu. There’s lots of visual comparisons to be made form this film.

Autumn Afternoon / Perfect Days

Autumn Afternoon / Perfect Days

of course Ozu's Spirit looms largely over the movie - Wim Wenders, Tiff.net

Tokyo Story / Perfect Days

I saw TOKYO STORY, and I stayed for the next three shows [of Ozu's films] that day until I stumbled out of the theatre late at night. I'd never seen anything that had so much shaken my world - Wim Wenders, AnOtherMagazine

Late Spring / Perfect Days

Late Spring / Perfect Days

A Story Of Floating Weeds / Perfect Days

Late Spring / Perfect Days

Equinox Flower / Perfect Days

Late Spring / Perfect Days

Good Morning / Perfect Days

Late Spring / Perfect Days

Tokyo Chorus / Perfect Days

Late Spring / Perfect Days

Good Morning / Perfect Days

Good Morning / Perfect Days

Brothers and Sisters of the Toda Family / Perfect Days

Tokyo Story / Perfect Days


I’ve never taken Wenders for a Tarkovsky guy, but this particular moment from Perfect Days (on the right) feels like an homage to the highway scene from Solaris (also shot in Japan).

Solaris / Perfect Days


There’s even a coincidental connection to Wenders’ former mentee Jim Jarmusch (I like to imagine these two guys exist in the same universe)

Paterson / Perfect Days

 
Perfect Days feels timeless with tons of replay value and is slowly becoming my go-to movie to put on when I can’t think of anything else to watch.

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