Continue reading →Ozu’s final work is a near masterpiece, a meditation on marriage and ageing through the lens of a father-daughter relationship.
Author / Eternality Tan
Floating Weeds (1959)
Continue reading →A rare Ozu masterpiece about being optimistic and moving on with life, shot in rich colour by the famous Kazuo Miyagawa.
Early Spring (1956)
Continue reading →This post-“Tokyo Story” drama may be one of Ozu’s longest endeavours, but it is also a superb if anomalous (at least of his later works) effort that centers on a young, salaried man tackling career and marriage.
Night Comes for Us, The (2018)
For genre fans only, this nauseatingly violent and gory organised crime slice/shoot-‘em up delivers what it promises.
Early Summer (1951)
Continue reading →One of Ozu’s more complex treatments on the institution of marriage, with a standout performance by the legendary Setsuko Hara.
Kuei Mei, a Woman (1985)
A solidly-acted story of one woman trying to raise her family despite all odds, in what could be Taiwan New Cinema director Chang Yi’s finest work.
Dead Pigs (2018)
Continue reading →Clearly an ambitious first feature, and it mostly hits the right spots in this ‘Magnolia’-inspired ensemble drama about China at the crossroads of modernity.
Tokyo Story (1953)
Continue reading →Ozu’s crowning achievement is a true triumph of life-affirming, humanist filmmaking.
Flavour of Green Tea Over Rice, The (1952)
Continue reading →For fans, this lesser Ozu is still worth a pop in what is a leisurely-paced, relatively loosely-plotted, if slightly overdrawn drama about a middle-aged couple’s marital crisis.
Late Spring (1949)
Continue reading →Ozu’s first true masterpiece is a highly-resonant and poignant tale of a father and daughter reluctantly trying to let go of each other.
