Maborosi

there was just so many little things I loved about the movie. The little old lady, the kids, the scene of the two of them riding the stolen bike, all of the scenes in the small town and the funeral scene(destroyed me). Maybe some of Koreeda's(maybe best?) composition work. The long, lingering shots really give the feeling of it being lived in. The use of greens and yellows just evokes something. Makes it almost feel like your memories. An instant favourite.

The fact that Koreeda manages to explore subjects like suicide/loss (in this), child abandonment (in Nobody Knows) and death/memory (in After Life) whilst taking such a calm, unsentimental approach not only offers you more space to think about what is happening on screen, but also honestly also just makes these films feel much more emotionally resonant and affecting. Maborosi in particular is very beautiful, at once both haunting and therapeutic.

The way it's all set up with the patience of the shots makes you feel like you're not really supposed to be there. You're kept at a distance. It's beautiful and heartbreaking. There's a lot of hope and beauty in the shots of the children and their activities.

Everything about Maborosi seems measured. There is a solemn refrain in each shot, as angles and images are repeated, all leading to a musing on memory and how grief manifests itself in many ways.

One of the greatest films about grief. Words can’t describe the beauty and weight. The light, textures, colors, framing, sounds. Restraint in performance. The image of a lightbulb rolling back and forth next to a ticking alarm clock on a nightstand tells the story of the film - how fragile is happiness, how influenced by the natural progression, what we can’t control. Can we ever find comfort when beauty/connection has been torn away from us without warning or clear meaning?

A Luz da Ilusão estreava há 25 anos no Festival de Veneza. Belíssima estreia ficcional do Kore-eda, um estudo contemplativo e detalhado da experiência do luto, quem já perdeu alguém relevante para a sua vida sabe que por mais que os anos passem aquele sentimento sempre estará lá, mesmo que escondidinho. BlurayRip no MakingOff.

a beautiful experience and exactly what i'm looking for in film right now, the kind of movie that lets you inhabit a world through slow pacing and beautiful shots framed meticulously. The themes are simple but are given space to unfold naturally with minimal exposition. the score is sparse so you pay attention when it floats in. the scene by the fire near the ocean was deeply poingnant and touched on a human quality of being drawn towards oblivion which i haven't seen observed like this before.

Even in the most intimate and poignant human moments, Koreeda's characters are always facing away from the camera, indistinguishable against a vast landscape shot, or shrouded in darkness. At the same time, his shot compositions create a mystical tone throughout the whole film - distant and otherworldly in its muted colors, yet deeply familiar in its thematic power.

A strange, rhythmic experience.

An amazing piece on the pain of grief and how catharsis in real life is rare

Maborosi is an odyssey of a young woman through 4 elements of the nature where at the final we can see all of them together, and finally she is cured from her pain amd reconciles with the earth and chooses life over death. Neo-Ozu mono no aware movie.

her kadraj özenle çekilmiş bir fotoğraf karesi gibi, kusursuz. duyguların sömürülebileceği bir konuyu hiç sömürmeden mükemmel bir sadelikle anlatıyor. 95 model Ozu filmi adeta. Tüm karakterlere eşit mesafede.

Although this deals with a specific grief, I think it'd be a great movie to show to someone who has a parent who is clinically depressed. This film is one of the best examples of an atmosphere of melancholy malaise. The static shots are beautiful and mesmerizing amidst the perpetual hollow emptiness, but the film struggles to reward viewers' patience or give enough to know, understand, or care about characters. Criticker gave me a 98 for this..

Carefully composed static shots, often filmed from a below-Ozu angle, record the grief and paralysing confusion resulting from an unexplained suicide. For most of the running time, the protagonist barely speaks, and the audience is left to construe her feelings from the details of the surrounding scene: when in the final moments she finally gives voice to her anguish, the effect seems unsubtle and underwhelming, and it may have been better to have just allowed the viewer to fill in the blanks.

There is something unsayable, inexplicable, about this film. And I guess that’s what Koreeda was going for. It’s like even you, the viewer, give in to the obscurity of truth. Maybe that’s why I felt so calm in the end.

A very thoughtful take on grief and moving on. In the last quarter however it seems to meander through a meaning to everything that has taken place throughout the rest of it that is unsatisfying.

@Ivan

Like a series of beautiful picture postcards. Problem is, the scenes are so outrageously slow that it seems like maybe 20 postcards in all. On the other hand, I kinda like it anyway. I like the characters and care what happens to them. And it's mighty pretty.

it's a little slow and undifferentiated from just being Japanese, but otherwise fine

A beautiful, contemplative film about people trying to move on in the wake of tragedy.

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Lovely, mysterious meditation on living with grief.

I probably would have enjoyed this movie more if the DVD quality was not horrendously bad.

I've seen a handful of Kore-eda's filmography, but apart from "Our Little Sister", they haven't really worked for me. This continues on that vein; it's an interesting meditation on grief, but nothing that I would return to. It has a strong atmosphere with suitably dark cinematography. I liked the contrast between city and the fishing village, and it was nice to see a different side of Japan. The characters remained distant, as was no doubt the intention, but not very rewarding for the viewer.