Cherry Blossoms, un rêve japonais

“It's merely a movie.” Yeah. Well, whenever did you see one that had every character's play connect; comprehending intuitively their wars waging within. Between the sense of responsibility, of guilt, sweet memories, shame and nagging doubts. Not of one character, but of every single one. And then not because the lines, expressions and glances are simple, the characters sparse, or the dialogues overly explicit. No. Only because every single one is a mirror of your own, if not now than those that'll (hopefully?) be experienced in the future. Their fights aren't theirs alone; they are ours too. All painfully accurate, and so incorrigibly human.

To watch sheer Love gathering momentum before and after they ... nothing less than apotheosis of overwhelming feeling, an epitome of emotion that was so unattainably beautiful; death's but a trifle after this.

I'd rate it one star ... for every time I cried (or could have, ought to and didn't), yet the scale doesn't reach that high.

I think it was for me a sublime movie experience. I tells about many things: lack of communication between generations, the passing of life and the necessity to cherish it while it lasts, the cultural differences and similarities between Germany and Japan. It also describes how we often do not know well even those closest to us. In the beginning the old couple seems so boring, one-sided and uninvolving, boy does it change as the film unravels. The film is very well written, directed and acted. Also one of the best, wholest descriptions of the current life in Japan I ever saw on celluloide. I loved the character of the young girl in Japan, her wonderful, delicate dignity in the face of the horrors of her lonely life. The man entered her life by coincidence and changed it for the better, maybe saving her from getting crazy or raped, or even killed.

If you would've told me prior to seeing this that I would fall head-over-heels for a film that's about a frustrated Bavarian Butoh dancer, with a tale of homelessness, loneliness, a pink telephone, cabbage rolls…and recycling all in the mix, I'd have laughed out loud.

In fact, I did laugh throughout the course of this wonderful, delicate film (that has the most selfish progeny since "King Lear"). In the opening scene a wife tells a physician, "My husband doesn't really care much for adventure," and, boy, does he have treat—and a trial—in store for him. But so does the audience.

The film's heart is about grief and how we can never really prepare for it. "I'd like my ashes scattered upon the sea," a spouse says to his partner. Fearfully, she says, "Why do you say that now?" And why indeed since we can never plan our end and its circumstances? It takes a young, marginally sane street performer, to tell us exactly what the Great Mystery is all about.

And the use of stunning images from nature, as well as the contorted gestures of Butoh theater…and the equally contorted emotions from a family unaware of who the others are that this film brims over with so many rewards that it can be enjoyed over and over again.

The family dynamics are almost farcical which keep the weight of the subject matter from spilling over into despair. And while the central character's own despair is the subject of the film, it's thrilling to watch him find his way out of it.

Exceptional performances, shimmering cinematography, a truly great film.

I will not say 'Cherry Bloosoms' perfectly flawless. The first half of the movie is a bit too plain, beautiful though. It is easy for audience to find traces of 'Tokyo Story' (Ozu's 1953 work) in the film. The filmmaker attempted a large amount of 'pillow shot'. Audience may feel like she was trying to replicate what Ozu did. It may not be a bad idea,especially young generation nowadays has not even spent a minute on watching old films like Ozu's work. But to me, 'Tokyo Story' is too perfect, and the movie I am talking now is not anywhere near it in the case when both of them are critiquing the relationship between parents and grown-up children.

Yet I did experience a sublime journey throughout the course of this beautiful film. What really moved me is the second half of the movie- its delicate description on 'mourning', on how a man copes with the mourning with all kinds of valuable memories of the dead. Beyond doubt the filmmaker did a great work on conveying the feeling of loss. The character'Yu' is impressive enough I still thought of her face that night after watching the movie. She is not the kind of girl with a beautiful face. We the audiences know nearly nothing about the character, but she really hit my heart in a deep way. She is lonely and sad, easily grabs the heart of audiences.Thanks to the soundtrack also. The film is soft, slow, sad, but at the same time it taught me a lesson. To treasure every single person besides me, and to pursue what really matters to me, as can life be ever predicted.

Discovering the essence of the companion, family, friends and others is the challenge posed by the story.

The movie takes you to geographical places you might never been before, as well as into your inside and your persona.

Great to reflect while feeling lost in both places and enjoying a work of art.

You will go as far away as Tokyo and as deep inside as your more basic understanding of human beings.

The unit of the story is a family at a moment of crises.

Some may see this story as a sequence of complains. But it can also be seen as stepping stones in the road to happiness.

It stresses the relevance of how taking good care of ourselves is the beginning of taking others feelings into consideration.

Some might have the feeling of not having a complete set of tools to approximate of understanding others essence, and feel compelled to change and develop them.

In syntheses the play depicts the sharp contrast in the two faces of the coin of life the one that gets engulfed by routine and the one that consciously chose to live on the other side seeking truth in the road of simplicity.