Films byTexts by Yasujirô Ozu
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Frieda Grafe 1973
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Ozu is een zencineast die in de positie van toeschouwer en afwachtende de wereld niet wil veranderen, maar zich vlak en onverschillig maakt als een waterspiegel en gereed is voor de indrukken van de wereld. De camera is bij het draaien steeds een fractie van zijn blik verwijderd: de ruimte geeft een versplinterde indruk.

An Autumn Afternoon
Yasujirô Ozu, 1962, 113’

The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.

Late Autumn
Yasujirô Ozu, 1960, 128’

A widow tries to marry off her daughter with the help of her late husband's three friends.


Equinox Flower
Yasujirô Ozu, 1958, 114’

Later in his career, Ozu started becoming increasingly sympathetic with the younger generation, a shift that was cemented in Equinox Flower, his gorgeously detailed first color film, about an old-fashioned father and his newfangled daughter.


Tokyo Twilight
Yasujirô Ozu, 1957, 140’

Tokyo Twilight follows the parallel paths of two sisters contending with an absent mother, unwanted pregnancy, and marital discord.


Early Spring
Yasujirô Ozu, 1956, 145’

In Early Spring, Ozu examines life in postwar Japan through the eyes of a young salaryman, dissatisfied with career and marriage, who begins an affair with a flirtatious co-worker.


Early Summer
Yasujirô Ozu, 1951, 125’

“I wanted to describe such deep matters as reincarnation and mutability, more than just telling a story. For this reason, Early Summer was one of the most demanding work I’ve done in years. There was criticism about the children being unruly.

Good Morning
Yasujirô Ozu, 1959, 94’

Letting rip a fart –
It doesn’t make you laugh
When you live alone.

Senryu poem