1950·Drama·1h 52m
7.1
★
Setsuko is in an unhappy marriage to Mimura, an unemployed, alcoholic engineer. She had always been in love with Hiroshi but both failed to propose when Hiroshi left for France a few years ago. But now he's back and Mariko tries to reunite them, although she too is secretly in love with Hiroshi.
Directed by Yasujirō Ozu
generation gap
troubled marriage
sisters
IMDB
N/A
Where to Watch
Cast
Kinuyo Tanaka
Setsuko Munekata
Hideko Takamine
Mariko Munekata
Ken Uehara
Hiroshi Tashiro
Sanae Takasugi
Yoriko Mashita
Chishū Ryū
Tadachika Munekata
So Yamamura
Ryosuke Mimura
Yūji Hori
Maejima
Tatsuo Saitō
Jou Uchida
Kamatari Fujiwara
Sangin's Master
Reikichi Kawamura
Sangin's Customer
Setsuko Horikoshi
Sangin's Maid
Yoshiko Tsubouchi
Mieko
Crew
Yasujirō Ozu
Director
Kōgo Noda
Screenplay
Yasujirō Ozu
Screenplay
Jōji Ohara
Director of Photography
Ko Fujibayashi
Lighting Technician
Popular Reviews
6 reviews
James Michael SmithPRO
7.0★ · 04/17/26
Highlights: the interplay in the central relationship between the two sisters: one, a more traditional woman grinning and bearing it in an unideal marriage, and the rambunctious and liberalised younger, sticking her tongue out when scolded and doing little skits for people. Super cute.
It’s not as emotionally devastating as Ozu’s masterpieces, but it’s very nice.
It’s not as emotionally devastating as Ozu’s masterpieces, but it’s very nice.
Highlights: the interplay in the central relationship between the two sisters: one, a more traditional woman grinning and bearing it in an unideal marriage, and the rambunctious and liberalised younger, sticking her tongue out when scolded and doing little skits for people. Super cute.
It’s not as emotionally devastating as Ozu’s masterpieces, but it’s very nice.
It’s not as emotionally devastating as Ozu’s masterpieces, but it’s very nice.
Nick
6.0★ · 03/19/26
Ozu’s bag of tricks slanted slightly to ask less questions about getting married and more about staying married. The question, “Should I divorce?” isn’t often confronted so directly. More triumphant is the autonomous reclamation of the older sister, Setsuko. What the film leaves her with or which direction it moves her, depending on how you look at it, is brightly optimistic.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.
Ozu’s bag of tricks slanted slightly to ask less questions about getting married and more about staying married. The question, “Should I divorce?” isn’t often confronted so directly. More triumphant is the autonomous reclamation of the older sister, Setsuko. What the film leaves her with or which direction it moves her, depending on how you look at it, is brightly optimistic.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.
I took issue with Ozu’s concluding positioning of power in his previous film, A Hen in the Wind. Here, that complaint would be rendered inverse, almost an entirely opposite balance of hope and reconciliation.
Davechild
8.0★ · 09/07/25
Such a strong theme of traditional vs modern age, and the younger sister feels like she fits more in with the screwball comedies of Hollywood at the time. Really great watch.
Such a strong theme of traditional vs modern age, and the younger sister feels like she fits more in with the screwball comedies of Hollywood at the time. Really great watch.
Avraz
8.0★ · 08/10/25
Virginia Moreno
7.0★ · 04/30/25