Still Walking

Still Walking (2008) proves that the director Hirokazu Koreeda is the most fascinating Japanese filmmaker working today along with the infamous Sion Sono. Still Walking is an almost Ozu-like family drama which depicts a day in the life of a Japanese family when the grownup kids come and meet their parents with their own children to commemorate their dead sibling.

The film explores the contemporary family dynamics thoroughly - there's a LOT going on in the film. The dense narrative provides observations on generation gap (e.g. the values of grandparents are constantly put next to the modern ones), pride (e.g. the grandfather still acts like a doctor even though he's retired; the son doesn't want to reveal his occupational problems) and grief (e.g. the grandparents can't let go of their dead heir) among other themes. The characters are complex and fascinating - new layers are revealed gradually throughout the film. The conflicts within the family are handled in a restrained way which makes the film even more interesting.

Even though Koreeda's form reminds one of Ozu in the film with its static camera and similar framing, the film's editing patterns are vastly different. Most of the time there's a lot more cutting in Still Walking than in any of Ozu's films (there are a few longer takes as well). That way Koreeda makes the film his own so that it won't become "only" a tribute to Ozu. The form is very intimate and a bit minimal.

Still Walking is a wonderful, poignant film. I became so immersed into its world that I felt like I was a member of the lovely, dysfunctional family. There is something so poetic and lovable about each of the characters - they are so wounded and flawed even though they don't seem like that at first. 

Score: 10 out of 10

Maborosi

(the snapshot is not mine, it's from dvdbeaver.com)

Hirokazu Koreeda's Maborosi (1995) is a tale of grief. Yumiko (Makiko Esumi) is happily married to Ikuo (the always-fabulous Tadanobu Asano) and they have a baby. Then Ikuo abruptly commits suicide without any apparent reason. Yumiko's life falls apart as she faces terrible grief when she comes to terms with what has happened, but eventually she marries a single father (Takashi Naitô) who lives on a remote island. The heavy burden caused by her grief hasn't left her alone yet and she wanders in a labyrinth of sorrow throughout the film.

Koreeda's masterful minimalism is already evident in his first major feature. His compositions are precise and captivating; the cinematography is restrained yet beautiful; the film's deliberately calm pacing makes the entire film feel meditative - and that's exactly what the screenplay requires.

In overall, the film is an aching and magnificent study of grief and resurrection. At first I thought it had not affected me as much as I would have liked, but after a while it had lingered long enough in my mind to guarantee itself a place among my favorites.

Score: 10 out of 10

Nobody Knows

At first I have to mention that Nobody Knows (2004) is the first film I've seen from the Japanese director Hirokazu Koreeda. The film's screenplay was written during a period of 15 years and it was inspired by a real life story. The film tells the story of 4 children who are left alone by their single mom who runs away with a new boyfriend.

Essentially the film is about lost childhood and the importance of family. It is tragic to see the family fall apart although the end is not completely somber. The children try hard to escape their anxieties - they don't even realise their horrible situation at first. What Koreeda has to say is somewhat relevant, it never feels like he has a precise idea on what he wants to say - or his ideas are a little too narrow for the film to become "perfect". Luckily, its complex narrative is rewarding (and involving) even though it is challenging as well.

Koreeda handles the subject with strict minimalism: a lot of plot development happens offscreen, the performances are very naturalistic (the film has one of the greatest casts that consist of only children) and the camerawork isn't elaborate. The slow pace of the film might not be easy for everyone, but it fits the film's content perfectly. It allows us to see the development in more detail so that the impact is bigger while still retaining its subtlety. And even with this calm pace, the film is incredibly dense in its storytelling. If you are going to watch this film, pay attention to the last hour - it's even more amazing when you take this into consideration. Even the use of music (and the music itself) is very subtle - with the exception of an awesome song sequence near the end of the film.

Koreeda's cinematography is rich: the compositions are not only beautiful but also meaningful. There are lots of subtle ways through which Koreeda sets the mood for each scene. For example, there is a scene in which the oldest boy of the family, Akira, meets a schoolgirl for the umpteenth time. Koreeda opens the scene with a shot of their legs: while the schoolgirl has proper shoes for the school outfit, Akira only wears terrible slippers. Even though the scene itself is sweeter, Koreeda tries to emphasize the difference between the two characters.

Ultimately, Hirokazu Koreeda's Nobody Knows is a film presented in the best possible way even though its content is a bit disappointing in the end: the ambition which is visible in other aspects made me think the film would go even further. But don't get me wrong: I nearly loved the film because it did affect me although its impact was hardly on the level of City of Sadness or Love Exposure.

Score: 9 out of 10