“Kore-eda once again gently touches upon the fundamental importance of reminiscing the past and treasuring small moments of happiness, while underlining in a subtle but precise way the complexity of relationships.”
If there is one Japanese director that doesn’t need an introduction, it is Hirokazu Kore-eda. Often compared to the grand-master Yasujiro Ozu, Kore-eda nevertheless sees his work as being closer to the dramas Mikio Naruse painted and the work of Ken Loach. And while Kore-eda’s work is diverse in nature, the underlying question/problem the auteur works through ever concerns the complexity of family and relationships as such.
“Yureru proves to be a very intimate emotive meditation on the mendacity of identity and the subjectivity in experiencing reality. It is a sublime meditation we recommend to everyone.”
In 2006 Miwa Nishikawa released her second feature film Yureru. As her first feature film, Wild Berries (2003), for which Kore-eda was the producer, garnished many awards, like the Best New Director award at the 2004 Yokohama Film Festival and the 13th Japanese Professional Movie Awards, expectations were very high. With Yureru (2006), which won 4 awards at the Yokohama Film Festival, and Dear Doctor (2009), Nishikawa confirmed her status as a big talent in the industry.
“The poetry of Yamato has one heart as seed and myriad words as leaves. This
kokoro is the one that knows mono no aware.” (In preface of Kokinshū, see note 1).
An Introduction for springtime.
The Sakura trees are blossoming, the casket of nihonshu has been broken, the time to enjoy Ohanami with friends, lovers, and/or family has come. As I enjoyed this year’s Ohanami, I was surprised when I started to reminiscence a scene of a cinematographical narrative I have reviewed some months ago.
The movie in question was Umimachi diary and the scene, as shown above as banner, was the springtime bicycle scene. Apart from the apparent connection of springtime, one might wonder why I want to revisit this narrative. The main reason is to elucidate the signifier “mono no aware” I introduced in the conclusion and to “reinterpret” some of my writings on this fantastic movie.
“A tender nostalgic narrative about the nature of sisterly relations and the beauty of transiency”.