1950. Sisters. There would be an opportunity to argue with the author of the book about genres in cinema Ronald Bergen about the stylistics of Yasujiro Ozu. Bergen attributed Ozu’s work to Asian minimalism. And to my taste, it's the kind that there's no clinical case of simple cinematic classicism. Slow storytelling, progressive development of the plot, a few descriptive shots - all the attention to the main characters, the priority of the middle plans and the bitter taste of the author's love of life. It's all about Ozu. Including the film about the sisters Munekat.
The story itself is not very interesting. Well, agree - predictably everything in the story about a woman who remembers her former boyfriend and tries to "bring" him with her younger sister, watching this for the final "temperature" of relations with her husband. Predictable in the part that everything is steadily moving towards tragedy. Toward the end of the tape, the nerves of the heroes will predictably heat up and they will begin to behave inadequately. Replacing Ozu’s usual optimistic facial masks with its real internal state.
So it's a matter of taste, of course. If you believe Paul Schroeder, Antonioni leaving the cinema after the next film Ozu lamented that he had nothing to do in the movies. For me, both Ozu and Antonioni, for the most part, just proposed new solutions. In shape. That was all it was. Their creativity should not be overestimated. The Munekata sisters are the same.
4 out of 10
