Notre petite soeur

This movie has all the elements to be a perfect Japanese movie usable for a Wstern audience. We have a story about tree sisters living alone in a traditional house facing everyday problems like many Ghibli productions, trains in the mountains, funerals as in the "Departures", little restaurant and cherry blossoms. However here we have an opposite narration compared to the movies of Ozu that made us fall in love with that absolutely Japanese simplicity as well unexpressed depth of emotions inside them. In other words, the beginning of those black and white masterpieces was one of familiar tranquility. A tranquility then threatened and finally restored. Let's think to "Tokyo Monogatari" in which at the end the old mother went back to the village where the younger daughter waits for her. Or the old father giving her daughter as spouse to another house at the end of "Sanma no aji". So there the key was finding the harmony. Like the regular sound of wood made by a bamboo fountain in a Japanese garden. Here in "Our little sister" we start from a situation of familiar disorder and in the end nothing changes so much. The hardships of the three sisters remain the same. Sachi, the older one, still leads all the house and the garden by herself. Yoshino, the lovable middle one, still looks for a new boyfriend whit out stopping the habit of drinking alone. Chika, the little one, still date with his naif boyfriend. But in the middle of all this something happened. They accepted in their lives the young sister Suzu, born after their father divorced. This young girl brought to their life a moment of happiness as well hope to going on to what they were doing. Suzu didn't change their life. Is not what can be called "a familiar earthquake". She should be compared nothing more to a blow of spring wind refreshing the house of the three sisters. This is another great difference from past production. We don't have strongly deep feelings. The sisters lives the joy of everyday. Somebody criticize Koreeda for this aspect accusing him of making a movie of good atmosphere and not of emotions. However family has changed. Japan has changed. The three sisters here stands for the contemporary Japan with low birth rate and feared by the earthquake of 2011. A Japan concerned more to what is going on today then to what can happen tomorrow. So we find ourself on the other side to the society growing fast, sometimes too much, in the Ozu's productions where smoking chimneys made their comparison a lot of times. The end show us this idea more clear. The four girls looks over the sea on a shore while speaking about their future without having great expectations. We find no more girls waiting for their boyfriends while practicing on surf as in Kitano's "A scene at the sea". A masterpiece filmed in the highest economic welfare of Japan of the late 80es. In Koreeda's movie we find contemporary girls simply hoping their everyday life can be as always was until then. With hardships but also joy. Without concerning too much about past,that is to say family and father, and future,or marriage and work. Paradoxically a contemporary return to the simplicity of "mono no aware". The medieval Japanese aesthetic principle of enjoy what is short-lived. As the cherry blossoms. As the windy teenage pureness of Sachi. The little sister that brings happiness.

The story about sisters lived in Kamakura. It starts that the father of three sisters dies. Then, they know the father has youngest sister, Suzu, whose mother is different from theirs. Suzu needs a place she can be, so she moves to a house that three sisters live. Four sisters have each trouble such as love and work. Also, they think about other sisters very much. Some people don't like this movie or they are bored because the logical development of this movie isn't clear and the story advances slowly. However, I was sympathized about the feeling of each sister and I was moved to tears by their love. I have a sister and two brothers, so I did more than others. In addition, the atmosphere of Kamakura is good and fits with this slowly movie. You wants to go to Kamakura if you watch this movie.

This movie is 128 minutes long and at the end i was hoping it could go on for two more hours. For me it is the essence of what cinema should be. Great story real characters and real life ! Just a few days before i was watching SW7 and thought it was an OK movie but while watching "our little sister" i was realizing how much better cinema can be and how bad most Hollywood blockbusters really are. I know its like comparing a Michelin star cook to Mc Donald's but when you tasted both you realize one is art and one is fast food. One you eat because you're hungry (bored) and one because it tastes great. This movie is art because it touches you in a special way ... not you ego but your humanity.

Compared to Hirokazu Koreeda previous movie "like father like son" the story is very loose sometime you even think there is none. You also get tricked by the expectations other movies force you to have by repeating the same motives over and over again. I'm not sure if this is intentional or the movie is just so different.

Like most Japanese or Asian movies there is some stuff that could be a little bit to slapstick and melodramatic for western viewers but that's a very small price to pay.

If you don't count anime "our little sister" makes it in my top 5 Asian movies of all time. I highly recommend it.

"Our Little Sister" centers around four sisters, their lives and their relationships. It may look like a small, complacent, too slow and contemplative movie, but Koreeda, with the help of amazing acting all around, elevates the proceedings and delivers a really good movie.

Sachi, Yoshino and Chika are three sisters that have lived together for some years. Their father left, marrying again, and their mother run away, leaving them behind. The death of the father brings all of them to his funeral, where they meet their half-sister Suzu. Sachi, the oldest, offers Suzu go living with them, and Suzu accepts, the four starting to live together.

From that moment on the movie develops slowly, but securely, with great character development, a couple of very touching moments, and a focus on human relationships and the reasons behind our behavior. That Koreeda has restrained Haruka Ayase, charming Masami Nagasawa, happy-go-lucky Kaho and innocent but smart looking Suzu Hirose as the four sisters helps, as they embody their characters and bring them to life. The plot helps, with little vignettes that help develop the story and entice the viewer's attention.

The movie is a little bit slow, but you won't care, because what you will care about is these four sisters, their world, their problems and the relationship they have between themselves and with all that surrounds them. Great.

The adaptation of a graphic novel to film may seem more easily attainable than other media, it can still suffer from the same problems. Hirokazu Koreeda, with his attention to details, did a marvellous job with this film. I noticed many cabiria- movements throughout the film, I suppose mimicking the movement of the reader's eyes.

Koreeda was also a good fit for the subject of the story, his last film Like Father, Like Son also handled relations between reunited family members. This time the most defining aspect is the role of the female in Japan, still a very paternalistic country, yet as the film shows they have no difficulty living on their own. Every film is an image of its time and Our Little Sister shows that times have changed, this case for the better.

The cinematography was very beautiful, to the point were I would recommend trying to watch Our Little Sister on the big screen. The long-shots of natural views are breath-taking. Furthermore, the script and the film feel very precise, no doubt the outcome of Hirokazu Koreeda writing the screenplay, directing and editing the film.