The following is my review of the film “Our Little Sister” by the acclaimed Japanese director Hirokazu Kore-eda, published in Asian American Press. I thank aapress.com for allowing me to post it here on my blog.
For those who might think a Japanese film would never make it to your local cinema, check this list of U.S. screenings:
http://sonyclassics.com/ourlittlesister/dates.html
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Premiering last year at Cannes, and later screened at other international film festivals the world over, Hirokazu Kore-edaโs โOur Little Sisterโ finally trickles into the local theatres of North American cities, which is timely. In a world rocked by tumultuous strife and unrests, this latest from Kore-eda makes a quiet solace, offering a taste of the ideal in human relationships and harmony despite brokenness.
โOur Little Sisterโ is Kore-edaโs most recent work after his 2013 Cannes Jury Prize winning โLike Father Like Sonโ. Following his usual subject of relationships in various family situations, โOur Little Sisterโ sees Kore-eda at the helm as director, writer, and editor of this production based on the popular Japanese graphic novel โUmimachi Diaryโ by Yoshida Akimi.
The three Koda sisters have not seen their estranged father for fifteen years. Sachi (Haruka Ayase), Yoshino (Masami Nagasawa) and Chika (Kaho) are now adults, living in the familyโs traditional home his father had long deserted in the seaside town of Kamakura. His recent death sends the sisters to his funeral, awkwardly, meeting the woman who had stolen their fatherโs heart. But it is an inciting incident that changes all their lives. They meet their half sister, 15 year-old Suzu (Suzu Hirose). Herein lies the turning point for the four sisters. Moved by her little step-sisterโs mature and quiet demeanor, or maybe stirred by her own older-sister instinct, Sachi invites Suzu to come away and live with them in Kamakura. Suzu gladly agrees.
The new Koda household now is a haven of happy sisterhood. Living under one roof, we see minimal conflicts and constant congeniality. Viewers from a different culture may find the saccharine relationships unrealistic. Are there not any conflicts at all? Of course there are. Kore-eda deftly leads us to some slow revealing. After three quarters of the 120-minute film, we begin to see inner turmoil rise to the surface.
Suzu had to take care of her father in his illness and seeing him to his last breath due to the incompetence of her mother; here is a young teenager bearing the burden of an adult. Now living with three older sisters, Suzu can finally enjoy the childhood she has missed. She quickly captures the attention of other students in her new school with her soccer skills, congeniality and maturity.
In the Koda household, Suzu is the angel of harmony, stirring up love and life. Kore-eda may have spent too much time on the leisurely-paced, day-to-day living such that viewers might feel the lack of conflicts to move the story along. I credit the style to Kore-edaโs realism and a candid camera focusing on the subtleties of nuanced interplay among the characters. Like his previous films โI Wishโ (2011), the yearning for family connections of a young boy is shown by his actions and not so much by words, or in โLike Father Like Sonโ (2013), wherein conflicts are portrayed by contrasts and parallels. Here, while still nursing a deep resentment towards her father for deserting them years ago, Sachi struggles with the moral parallel now as she carries on a relationship with a married doctor at the hospital where she works.
Moral dilemmas, what to choose, how to live, and the search for identity are the issues Kore-edaโs characters have to deal with, but in a way that is quiet and gentle. He introduces us to other endearing characters in the town, adding numerous episodes to build up a human mosaic of harmony in the presence of brokenness and even death.
The scenic seaside town of Kamakura provides a beautiful backdrop for cinematographer Mikiya Takimoto (โLike Father, Like Sonโ) to shoot the film, reflective of the idyllic life that can be had, even in an imperfect world. The arching branches of the cherry blossoms, landscapes and seascapes mark the healing power of nature. But also like the petals of the cherry blossoms, which third sister Chika likes to pick up and gather in her palm, life is ephemeral.
Reminiscent of Ozuโs films, the passing train is a visual metaphor for the passage of time, changes, and the transience of life. To enrich the visuals, Yoko Kannoโs original score sweeps us through with warmth and tenderness, as a supporting voice telling the story. โOur Little Sisterโ is a heartwarming film for the unhurried heart to savor.
~ ~ ~ Ripples
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This sounds wonderful, Arti! Sadly, I do not see any theater listings in my area. Will have to wait for Netflix or the library.
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JoAnn,
Yes, do watch for it online or in the library, albeit I think the big screen is best for watching it. ๐
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On my first day in Japan we went to Kamakura. Such a beautiful town. I’m eager to see this for it sounds like a beautiful movie — thoughtful, filled with family dynamics that evolve into all the things you hope a film will be. I know Rick would love this one, too. Alas, I suspect it won’t see the light of day in my neck of the woods but I’ll find it somewhere.
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Hi Jeanie,
Have you checked the link to the list of US screenings in my post? I think there are three places in MI on there. I’m sure you’ll enjoy the film especially with you having visited Kamakura before. ๐
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I’m always on the lookout for a good Asian film. The best ones are so subtle offbeat and beautifully filmed. It’s actually exciting to put this on my rental list after, as you say, seeing so many blockbusters with my friends.
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They certainly can bring a different perspective to us. If you’re interested, here’s a link to all my reviews on Asian American Press. You will find the def. of ‘Asian’ can be quite broad. http://aapress.com/?s=Diana+cheng
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Oh Arti, this sounds like a lovely film. Thanks for the well done review to let me know I should see it!
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Stefanie,
It is definitely a different kind of movies from our Western, macho, might is power kind of flicks. Totally diff. entity but very enjoyable. And it’s done by a male director. That says a lot about cultural differences. ๐
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Thank you for a great review – I would love to see this! I should have looked at your post earlier, and I might have found someone to go to San Francisco with me to see it – but it’s more likely I’ll find someone to come to my house to watch it on the small screen ๐
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I’m not sure if it will stream anywhere online but sure hope so, Joanna. It’s still in first run theaters so may take a while. Do watch for it. You’ll enjoy it. I’m heading to Toronto for TIFF in September, planning to catch Koreeda’s newest film “After the Storm”.
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Sounds modest and evocative – deep and subtle. A VERY WELCOME respite.
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Yes, Aubrey, a very soothing and quiet piece. Thanks for stopping by and leaving your comment.
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