Snerting

The love story, which unfolds in silence, traverses different eras and places but never misleads the audience, captivating the viewer's heart with its wonderful direction (director Baltasar Kormákur) and the beauty of the camera work (cameraman Bergsteinn Björgúlfsson). Although the story is heartbreaking and at times cruel, songs play an important role in this film to prevent it from becoming too serious. The heartbreaking Icelandic folk song sung at the beginning by an older Christopher (Egill Ólafsson) becomes the central theme of the film. Next, the song by Arai-san (Tatsuya Tagawa) from the Japanese restaurant where young Christopher (Palmi Kormákur) works depicts the love affair between Christopher and Miko (Koki, the restaurant chef's daughter, the father played by Masahiro Motoki), sometimes romantic, sometimes comical and heartbreaking. Along the way, the Icelandic folk songs sung by young Christopher are wonderful, and the karaoke by Kutaragi (Masatoshi Nakamura), whom old Christopher met in Japan, actually fits the theme of the film. The film ends with a moving performance of an Icelandic folk song sung by older Christopher while holding the hand of Miko (Yoko Narahashi), whom he sees for the first time in 50 years. The music used in the film (music by Högni Egilsson) is also very beautiful, but it is rare to see a film where the characters sing so many songs (except, of course, for musical films).

I always love movies touching my soul. This is the most important thing for me and this movie in particular, made me cry. Not just with the plot, but the substance, the music, even the colors on the screen..acting was so good both youngsters and older actors. Beautiful movie, sooo beautiful. Brava!

The time relapse between the past and now is very sweet. Young Kristopher is so cute, I can sympathize with him. Also the Japanese lover 🙄 even me had that pain when he lost her. Losing someone is heavy for the soul and the unknowning is heart-wrenching.. felt everything Kristopher felt in the movie..every little detail. Must see movie.

It's only July 2024 and this is hands down the best film of the year so far. What a dream it would be to see this film be nominated at next year's Oscars for the filmmakers and cast. Hopefully this film will be remembered in some other award races if not the Oscars. The story telling is gentle and beguiling but never slow. There is no wasted moments as Kristofer (Egill Ólafsson) now worried about memory problems after his wife has since passed and living a lonely life in Iceland. He takes the audience on a journey through the start of pandemic through London and Japan (and through extended flashbacks) as he searches for a true love who abandoned him half a century ago. The actors are well chosen for the roles including the actors playing the young Kristofer (Pálmi Kormákur) and his love interest Miko (Kôki). All the emotions and reactions seem natural and their empathy fully earned. A restrained but pivotal role is played by Masahiro Motoki as Miko's father and Kristofer's mentor in Japanese cuisine. Audiences may remember Motoki from the Oscar winning film "Departures". The best films often have stories we wish will never end. We want to know more and this film is no exception. But the ending here is fully satisfying. It's a quietly intense and yet still emotional ending. How do we overcome loss and find the courage to resolve our grief. This story shows how one man finds the will in what initially feels like an impossible situation.

It's a search-for-lost-love romantic drama set in 1969 London, England, and March 1980 in London and Japan, with a few scenes between those dates. Kristófer (Palmi Kormakur/Egill Ólafsson) is an elderly widower in Iceland facing increasingly fragile health just as the Covid outbreak is arriving in 2020. He leaves for London to search for a Japanese woman, Miko (Koki/Yoki Narahashi), whom he met in London in 1969 while dropping out of graduate school at the London School of Economics as a frustrated political radical.

We see Kristófer's 2020 search for Miko interspersed with scenes in 1969 when he worked initially as a dishwasher in a restaurant owned by Miko's widowed father, Takahashi-san (Masahiro Motoki). The film's 1969 scenes follow Kristófer's increasing fascination with Japanese culture, and more particularly with Miko. Their relationship grows until Takahashi-san and Miko suddenly disappear. By "Touch's" end, we learn the reasons for Miko's disappearance that stretch back to World War II.

I loved this movie, partly because I've always been a hopeless romantic. But "Touch" brings together so much from cross-cultural love, the struggle to understand never-before-seen illnesses, and the power of remembering first loves. "Touch" (a recurring visual theme between lovers) perhaps has a bit too neat an ending, but it was all very satisfying. I came close to giving it a 10.

This is another heartwarming movie telling the eternal story of boy meets girl, boy loses girl, boy meets girl again. You could also call it "Rekindled love in the age of Covid". An absolute gem. Beautiful story, great casting and acting, awesome score. Just an overall satisfying movie with real people doing real things. No superheroes, no car chases, no explosions, just real life with the two main protagonists being from different cultures and the atom bomb on Hiroshima playing a major role. Skip all the brainless drivel Hollywood serves up all Summer and enjoy this understated heart-breaking feel-good movie.