Andando

Its not often I return to see a film immediately to see it again, but this is a film which demands it. This is a masterly film by Koreeda following an ordinary middle class Japanese family has they have an annual reunion to commemorate the older brother who died rescuing a boy from drowning. In its slow, gentle, poetic way, this film brings us into the heart of the family so well you feel it is your own - indeed, the characters are so real, so richly portrayed, that you almost come to believe you know them as well as your own family.

A simple plot précis doesn't do justice to what this film is about. It shines a light into those repressed areas of resentment, sentimentality, nostalgia, guilt and desire that are so often hidden behind a facade of politeness. Koreeda is too subtle a director to have any big blow ups or surprises - he reveals his characters in a gentle manner as detail is laid upon detail. When the ending comes it is not a surprise, but it is still profoundly moving and thought provoking. This is a film that will stay with you long after you leave the cinema.

A lot has been made about the films debt to Ozu. I think this is very overstated - although there are one or two stylistic nods to Ozu at the beginning, Koreeda is a very different type of film maker. Unlike Ozu he uses tiny surreal moments of beauty to contrast with the realism of the rest of the film. His use of editing and camera work is far less formal and rigorous - instead he allows the camera to follow the characters, revealing the layers of the home. And most importantly, while Ozu emphasised the death of the traditional Japanese family and considered it with sad resignation, Koreeda sees families as all alike, stuck in a series of inescapable cycles. In many respects this film reminded me more of some of Naruse's classic films than Ozu.

The cast is uniformly excellent, with Kiki Kirin utterly wonderful as the grandmother. The only very small quibble I have with the casting is that Koreeda succumbed somewhat to casting some characters who are a little too elegant and good looking for the 'normal' people they portray. Hiroshi Abe and Yui Natsukata are maybe a little too good looking to be convincing as the less than 100% welcome family members. But that is a very minor criticism of what is a terrific ensemble piece.

I think this film is one of the finest of the year and may well come to be seen as a classic. It can certainly sit comfortably with any of the great films of Japans golden era.

This film by writer/director Koreeda is a triumph of simplicity. Telling the story of a family who meet annually to mark the death of oldest son Junpei at the parent's house, you're struck by how well this flows. The acting is uniformly very good and the story never lags. The best thing I found about this film is how it could have been done without a script, if the actors were given this scenario. There is bitterness, pettiness and even selfishness here, all earmarks of the subject matter. I found the stylistic similarities to Ozu films to be very touching and not a bit off putting. When I watched this film in a theater in New York, people applauded at the end. This is about as real life as it gets. Its a universal theme, not a Japanese one. My hat is off to the writer/director, its a fine film.

Forty-something art restorer Yokoyama Ryota (Abe Hiroshi) reluctantly returns to his parents' home with his new wife Yukari (Natsukawa Yui) for a rare reunion. The family is holding a memorial for the eldest son who passed away 15 years ago, and Ryota has not been looking forward to the occasion. To his father (Harada Yoshio), Ryota can never compare to his late brother, and silent resentment has accumulated between father and son over the years. Likewise, Ryota's mother (Kiki Kirin) carries years of bottled frustrations and disappointments that slip out in casual, cutting remarks. Only sister Chinami (You) seems to somehow keep herself above the family drama. As the day wears on, the family runs through the simple gestures and complex emotions that keep them together and push them apart.

Few other nations can capture the beauty of family drama with such subtlety and grace as the Japanese can. Perhaps it is a blessed legacy left behind by the master Yasujiro Ozu who in his lifetime made over 50 films, all of which are family dramas that often dealt with generational gaps. Japan, more than any other nation struggles with the problem of generational gap, being a nation that has continued to endure conflict between the young and the old, the traditional and the modern. Stepping into Ozu's shoes is the acclaimed director Koreeda Hirokazu, whose films "Nobody Knows" and "After Life" has already garnered universal praises.

"Still Walking" begins as a family reunites to commemorate the death of one of its members. With new members joining the family and old wounds resurfacing, everyone tries their best to pass the two day gathering with as little problem as possible. Sounds simple doesn't it? Well, therein lies the plain and subtle beauty of the film. From a few words exchanged between the grandfather and his new grandson to the laughter of three children as they caress a blossoming flower, these simple moments will linger in your mind with tasteful resonance long after the film.

While watching the movie, I found it hard not to be immersed by the beauty of Japanese suburbia. I could picture myself - like the characters, taking a stroll on a simmering summer day with the cool breeze in my hair as the gentle picking of guitar strings play in the background. Or perhaps eating lunch and drinking cold ice tea on tatami mats as the wind-charm tickles with the slightest vibration. "Still Walking" is a meditation on life and death that may just move you to tears...without even trying.

"Still Walking" aka "Aruitemo Aruitemo" Yet another superb delivery from Japanese filmmaker Hirokazu Koreeda who gave us "Nobody Knows" in 2004. It's like we're eavesdropping on a private family reunion event. Central to the story is from the viewpoint of the second son, Ryota at age 40, going home to his parents' house via public transport with his new wife, a widow, and her 10 year old son from previous marriage. Yes, he doesn't own a car like his sister and brother in law. He's actually wary about hiding the fact that he doesn't have a substantial job and asks his wife not to breathe a word at the family occasion. His parents will be disappointed, especially his father who has counted on the second son to take on the family medical clinic business and be a doctor rather than any other trade - since the eldest died 15 years ago. Ryota has 'imprisoned' himself by these expectations which he is unable to, and frankly does not want to, fulfill. Underneath the pleasant bantering with his mother, we can tell he is struggling to find himself, make peace with himself and go on with his life.

Writer-director-editor Koreeda's passion provided us a close look (ever so casually, unhurried at its own pace so we get to be familiarized with each member of the family) on how a Japanese family might function on such a reunion gathering. We are put at ease watching mother and daughter preparing food in the kitchen, the whole family huddled around the meal table, the spontaneous exchanges. By and by, subtle clues are displayed and we may see the other side to each person's personality and hidden desires. Then there are pause moments to relish some family coziness or mother-son cordial exchanges. The storyline is far from 'flat' at its leisurely pace: "familiarity breeds contempt" or "absence makes the heart grows fonder" - either could be true. As the evening goes on, more aspects surface - be it mother, father, son, daughter in law, or grandson - we share their sentiments, satisfied or empathized.

"Still Walking" is a rich film. We are fortunate to experience it with so many levels rendered to us. I appreciate the reverence paid to the traditional family ritual of honoring the dead. Yes, a chance for a family outing, seeing Ryota and his 'new' family - wife and stepson - together is encouraging. The 'yellow butterflies' folklore is heartening.

The film also brings to mind quotes from Louise L. Hay's book, "Heart Thoughts - A Treasury of Inner Wisdom" on forgiveness (page 90): "We do not have to know how to forgive. All we have to do is be willing to forgive. The Universe will take care of the how." And on happiness (page 94): "Happiness is feeling good about yourself."

The theme music by Gonchichi is just right for the mood and state of inner peace - its guitar playing chords and melodic strains is quietly serene. What a soothing melody, giving the film a resigned, calming, happy with himself again leisurely tempo - simply apt to the story of "Still Walking." Visit the official site 'www.aruitemo.com' and you can listen to the music and check out 'Director's Statement' with Koreeda talking about his film.