Maboroshi no hikari (Maborosi) (Illusion) (1995)
Maboroshi no hikari (Maborosi) (Illusion) Photos
as Tomoko Tamio's Daughter
as Michiko (Mother)
as Yuichi, Yumiko's Son
as Hiroshi, Yumiko's Father
as Kiyo Yumiko's Grandmother
as Yumiko as a Young Girl
Critic Reviews for Maboroshi no hikari (Maborosi) (Illusion)
The tale is told in contemplative wide-angle shots; the absence of any spurious, unearned intimacy with the characters makes the climactic scenes profoundly moving.
The film, which was made with only natural light, draws the viewer into its spiritual mood with one breathtaking shot after another, as the camera draws back to contemplate Yumiko from afar.
Maborosi is one of those valuable films where you have to actively place yourself in the character's mind. There are times when we do not know what she is thinking, but we are inspired with an active sympathy.
Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.
Audience Reviews for Maboroshi no hikari (Maborosi) (Illusion)
Even on his earliest work, Hirokazu Kore-eda showed his talent for combining beautiful camerawork and music with an emotionally resonant story.
I knew nothing about this film before I watched it (rare in itself) and not a whole heap more after it had finished. I don't speak Japanese, so even the title gave nothing away. It's a slow film, a mood piece I guess about the aftermath of a young woman and her child's lives after her partner commits suicide.. Not a lot happens but its very lovely to look at and watchable in a subtle kind of way.
It's interesting to compare Hirokazu's first feature with his latest, both of which are concerned with how people mourn and reconcile with the death of family. Still Walking is shot mostly in static medium shots and closeups and relies heavily on dialogue while Maborosi features a great deal of long shots and its power derives from its gorgeous visuals. I heard that the style of this film was influenced by Hou, and clearly enough there is a similar shot sequence pattern, repetition of shots, and framing. Actually the empty shots sequences are like a synthesis of Ozu's pillow shots plus Hou's formal repitition. The dream prologue seems to be a homage to A Time to Live and a Time to Die. The cinematography starts out fairly ordinary and gets much better, the landscape shots are truly beautiful, and the scenes shot during dusk are eye-popping in their use of shadows.
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