The cinematography is really reminiscent of Japanese New Wave, but the rest of the film tries too hard too, the final product is a muddled mess of failure and success. All in all it's worth seeing if it's available.

A modern masterpiece.

beautiful

Kore-Eda is a dependable auteur of quiet sadness. The interplay between different family members is presented with great care and empathy, Kore-Eda clearly endeavoring to understand these people through his art rather than exploit their fictional anguish for easy emotional prodding. There are many simple moments throughout the film. Kore-Eda is not exactly finding greater truths within the mundane, but instead allowing that the mundane coexists peacefully with the tragic and the profound.

A wonderfully complex yet understated family drama. Koreeda channels Ozu to great effect (reminiscent of Tokyo Story).

Equal parts meditative, lighthearted, and touching. Like a "hangout movie" with a family, there is a lot to like about this film, but most noteworthy is how it can balance simplicity with engaging characters. It's great.

"A family drama that gets the family dynamic exactly right, a film that understands the ways in which unspoken resentments tend to accumulate and unresolved conflicts later harden into regrets." - Andrew Schenker

"Taking place over little more than a day in the life of a family, Kore-eda's film locates the profound in the mundane."

Elegant and touching, this film shows a rare deep understanding of human interaction. A beautiful family drama and a rare timeless film. Pulls a lot from Ozu, but builds on that influence in ways that appeal to me much more than something like Tokyo Story.

Emotionally beautiful film. All the performances are wonderful, giving little revelations in both what they share and what they don't, showcasing a variety of personality types, forms of interaction and social norms. While the film's central arc carries with it some interesting ideas, it's all the little moments that really make the film shine.

Profoundly moving. A lifetime of buried heartaches and concealed emotions revealed in small potent doses throughout are so palpably real, almost unbearably so, in this quietly arresting modern masterpiece of a Japanese film untainted by any form of pretentiousness. There is no truer portrayal of family life down to the smallest detail. The customs may be Japanese but the themes are universal. My heart felt like bursting at the end.

Family dynamics perfectly portrayed. A newly started family visits parents who still aren't over the loss of their eldest son, sounds like a tear jerker, but couldn't have been any more from the truth. The subtle jabs the grandma, who really turns into the star of the film, set just the right mood for this film. Each person in the film has an important role in this somewhat dysfunctional family, and it wouldn't have been the same without them.

Koreeda's latest film could be compared to Ozu. It's an understated family drama with a minimum of flashiness, and some gentle music. It uses some of the same kind of "still life" transitions, and even starts and ends with a train. But it isn't straight homage, and this film is more emotionally open. And, it could fairly be said, less subtle... the butterfly thing is a bit of a groaner. But other than that slight misstep, it's a quite lovely movie with honest and realistic performances.

5 Nisan 09, 16:00,. 28.ist. film fest. ruya & aile degerleri uzerine yapilmis, ozu'ya saygi durusunda bulunan ve patlamaya hazir ilerleyen diken ustundeki ailevi iliskilerin kameraya yalin - gercekci yansimasi. dokunakli.

It's Ozu in the sense that it's the domestic drama genre pushed to an insane level of high art in its cinematic form. A key difference is that Still Walking relies on long takes from a single position, and using staging and dialog to keep the drama unfolding. Ozu relied more on classical decoupage and very often he had long braces of fast cuts. No matter the method they captured their families, Koreeda is keeping the Ozu mold with a simple and delicate film.

That Koreeda's film feels a lot like an updated and modernized Ozu movie says a lot in its favor. The same attention to ongoing family drama, the lack of appreciation for our elders, and the mundane rituals of everyday life (much of which surrounds food), connects the film to some of the most ingrained and common experiences and feelings we have. The film, like Ozu's Tokyo Story, serves as a caution to appreciate what you have before its too late.

A quiet and genuine family drama, it's like an Ozu film for the 21st century. The script and cinematography exhibit a very Japanese tasteful restraint. A pleasant two hours, highly recommended!

Beautifully shot movie with lots of interesting dialog to flesh out the people. The flaw is that it leads nowhere and we get a sense of emptiness with a payoff at the end that is not really satisfying. The characters never really change during the course of the movie except our understanding of them but that's all there is to it really. It's an interesting look at a flawed modern Japanese family but nothing profound.

Sumptuously-shot and paced family drama reminisent of Ozu and Tokyo Story. The themes of family traditions, parent-child relationships and universal respect are typical of Japanese life, but here they are gently peeled away to give a glimpse at the reality behind these facades, and perhaps how the nation is changing as a whole as modernity supercedes tradition. Fine naturalistic performances, interesting dialogue and a nice soundtrack all contribute to a charming, light film about life itself.

Hirokazu Koreeda is frequently referred to as the modern day Yasujiro Ozu, but I've always felt that Koreeda's films lack the sutblety that made Ozu's films such sublime experiences. Still Walking is very much the same as Koreeda's other films, and in many ways, suffers even more. The film is no doubt beautifully shot in his standard contemplative style, but the writing this time around is a bit weak, and because of this, the film's languid pace proves to be detrimental more often than not.

It takes two hours for the film to show how individual members of a somewhat disfunctional family cope with the past death of the first born, an object of high expectations. I'll sum it up in two words: they don't.