When their estranged father dies, three sisters decide to take in their younger half-sister to live with them in Kamakura, despite the fact that she is the daughter of the woman who wrecked their parents' marriage.
Koreeda seems intent on paying homage to Ozu here. The rhythms of family life are laid out in detailed scenes on cooking, funeral rituals, and memorial services. The more traditional landscapes of Kamakura, including heavily foregrounded cherry blossoms, feature prominently. And nothing much happens, which is the film's most damaging failing. Sachi (a one-note Haruka Ayase) seems content with her married lover. Any conflict she may feel over her situation is buried deeper than the audience can see. Yoshino, exuberantly played by Masami Nagasawa, always picks the wrong guy, ending up broken-hearted and out of pocket. A possible redemptive story line with an under-used Ryo Kase is left unexplored. Kaho may or may not have a romance going with her boss (we never find out). And the waif taken in, Suzu, (a charismatic Suzu Hirose) knows more about their father than any of them, but merely hints at complexity, and never mines it.
Shinobu Ohtake shows up as the recalcitrant mother about an hour in, bringing brief hope that her appearance might bring about a volatile mix. The situation, however, is snuffed out as quickly as it flares up, and we are back to wistful looks off-camera and bike rides through softly falling cherry blossom petals.
Koreeda faithfuls Kirin Kiki and Riri Furanki show up in roles that are practically cameos, unfortunately reminding us that Still Walking and Like Father, Like Son are so much more powerful and complex.
This is a light, delicately observed film, so much so that it is too slight and so simply floats and vanishes rather than takes root. Like Air Doll this is, unfortunately, simply Koreeda in an indulgent moment.
Koreeda seems intent on paying homage to Ozu here. The rhythms of family life are laid out in detailed scenes on cooking, funeral rituals, and memorial services. The more traditional landscapes of Kamakura, including heavily foregrounded cherry blossoms, feature prominently. And nothing much happens, which is the film's most damaging failing. Sachi (a one-note Haruka Ayase) seems content with her married lover. Any conflict she may feel over her situation is buried deeper than the audience can see. Yoshino, exuberantly played by Masami Nagasawa, always picks the wrong guy, ending up broken-hearted and out of pocket. A possible redemptive story line with an under-used Ryo Kase is left unexplored. Kaho may or may not have a romance going with her boss (we never find out). And the waif taken in, Suzu, (a charismatic Suzu Hirose) knows more about their father than any of them, but merely hints at complexity, and never mines it.
Shinobu Ohtake shows up as the recalcitrant mother about an hour in, bringing brief hope that her appearance might bring about a volatile mix. The situation, however, is snuffed out as quickly as it flares up, and we are back to wistful looks off-camera and bike rides through softly falling cherry blossom petals.
Koreeda faithfuls Kirin Kiki and Riri Furanki show up in roles that are practically cameos, unfortunately reminding us that Still Walking and Like Father, Like Son are so much more powerful and complex.
This is a light, delicately observed film, so much so that it is too slight and so simply floats and vanishes rather than takes root. Like Air Doll this is, unfortunately, simply Koreeda in an indulgent moment.