A Story of Floating Weeds was good, I don't have much to say aside from that. Ozu's visual poetry is potent here as the way the actors and camera are positioned is excellent at giving the audience a feeling of the natural relationships between these characters, characters who do have solid and well-defined associations. Most of the characters are easy to relate and understand too. Why would I rate this low though? I honestly don't know, there was something that was lacking for me on an emotional level that made this film tiring to get through. It's not bad and I know I'll be watching the remake and rewatching this eventually. Maybe I was expecting a more Tokyo Story level of character understanding?

A Story of Floating Weeds was good, I don't have much to say aside from that. Ozu's visual poetry is potent here as the way the actors and camera are positioned is excellent at giving the audience a feeling of the natural relationships between these characters, characters who do have solid and well-defined associations. Most of the characters are easy to relate and understand too. Why would I rate this low though? I honestly don't know, there was something that was lacking for me on an emotional level that made this film tiring to get through. It's not bad and I know I'll be watching the remake and rewatching this eventually. Maybe I was expecting a more Tokyo Story level of character understanding?

Feels completely realized of true Ozu. Nearly every hallmark except a daughter needing to get married is covered. Flooring visual poetry of insignificant objects weave the tapestry of underyling humanity. In the empty spaces everywhere is the everything. There’s a dinner scene in Tokyo Story which I always feel as one of Ozu’s most violent moments. Here, though, we have a surprising amount of literal violent outbursts, shocking and relentless for a brief moment at the end. The tatami matt-level framing’s effectiveness is totally felt along with some awesome exterior footage. I can’t believe Ozu tapped into this completeness so early, even here in the silent age. Another shot of two people separated by a rain-covered pathway, each standing beneath a pouring roof feels classically Ozu. It seems a common question I have after each Ozu film, is he the humanist director?

Feels completely realized of true Ozu. Nearly every hallmark except a daughter needing to get married is covered. Flooring visual poetry of insignificant objects weave the tapestry of underyling humanity. In the empty spaces everywhere is the everything. There’s a dinner scene in Tokyo Story which I always feel as one of Ozu’s most violent moments. Here, though, we have a surprising amount of literal violent outbursts, shocking and relentless for a brief moment at the end. The tatami matt-level framing’s effectiveness is totally felt along with some awesome exterior footage. I can’t believe Ozu tapped into this completeness so early, even here in the silent age. Another shot of two people separated by a rain-covered pathway, each standing beneath a pouring roof feels classically Ozu. It seems a common question I have after each Ozu film, is he the humanist director?

I would also protect the Kitty Bank

I would also protect the Kitty Bank

That ending shot was fucking incredible I could watch this all day in a dark room and listen to that majestic music

That ending shot was fucking incredible I could watch this all day in a dark room and listen to that majestic music

This was fine, but not good

This was fine, but not good