Mary Poppins Returns
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All Critics (20)
| Top Critics (5)
| Fresh (19)
| Rotten (1)
| DVD (3)
Both Hou and Ozu excel in evoking the poetry of everyday life, and, as a tribute from one great filmmaker to another, Cafe Lumiere should richly satisfy devotees of both artists.
The film often takes on the hypnotic rhythm of a dream.
Hou fans will find what they're looking for; others will wonder when the action starts.
Although pegged as an author of contemplative mood pieces, Hou's originality as a filmmaker has much to do with both his handling of historical material and his daringly counterintuitive narrative structures.
A fascinating curiosity, a chance to witness one major filmmaker paying tribute to another in the form of a rigorously minor film.
Remarkable visual trip through Japan.
Some 40 years after Ozu's death, the traditions that govern middle-class Japanese family life - the crux of his films - are even more frayed.
Like Ozu's Tokyo Story, the film is mourning the passage of an era and a tradition, and more than a little dismayed at the direction things are heading.
Rather than go the trivial route of aping Ozu's style and storytelling, [Hou] uses the techniques he's honed to create his own take on the state of Japan's ever increasing modernity.
Framing the visual haphazardness of urban streets in exquisite, dense, Shiko-like scroll paintings, Hou demonstrates how even in a megalopolis life is lived on a human scale, one day, one person at a time.
A tribute to Yasujiro Ozu that can be seen as one film great saluting another from a different culture and time period.
Like all Hou films, viewers will want to ponder Cafe Lumiere and its many layers well after this year's Oscars have come and gone.
Very subtle. Not a lot of story at all. Moves along very slowly, but I liked the day to day life in Tokyo.
Hou's moody tribute to Ozu is more revealing and significant from what is left unsaid as it shows a woman in transit (she spends a good part of the film on moving trains) and who never discusses her pregnancy with her traditional parents. Still, it left me a bit too cold to care.
In "Cafe Lumiere," Yoko(Yo Hitito) spends much of her time between Taiwan where she is researching a famous composer and Tokyo where she hangs out with Hajime(Tadanobu Asano) who sells books and records the sounds of trains. Her carefree life comes to an end when she finds out she is pregnant by her Taiwan boyfriend.
And that's pretty much it for any kind of story as director Hou Hsiao-hsien turns Tokyo into one giant model train set. As the trains go in circles, so does the plot. He does this in order to comment on the rootlessness of youth, as none of the characters can stay in any one place for long. And not that it matters any, but this is the second time in a week that I have seen a movie dedicated to Yasujiro Ozu that concentrates on train travel which is odd considering Ozu was the master of the domestic drama.
Subtitled 'an Homage to Yasujiro Ozu' and clear to see why. Hou creates beautifully composed shots and quiet reflective scenes which will be very familiar to those who know Ozu's work. The film captures the distinct void between generations without ever having to state it's theme. Instead we get serene scenes of eating, drinking and catching the train. Although bang on with style it lacks the pure emotional punch that Ozu managed so easily to convey. We still however feel many mixed emotions even if they are not as effective. Slow and long takes result in a film not for all, but one for fans of Ozu to see where he may have gone in the 21st century.
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