Yasujiro Ozu, poetry on the big screen

Disappeared in 1963, he remains the master of Japanese cinema. His color films have just been brought together in a box and the Notebooks he kept for the last thirty years of his life, reissued by Carlotta. They shed light on the fascinating and enigmatic work of this director who transmutes reality with minimalist means.

There is Ozu magic. It is something indefinable. Japan suddenly seems fraternal and distant to us. The films of Yasujiro Ozu (1903-1963) are classic, timeless. They don’t look like anything else. Family stories, ground-level camera, favorite actors, minimalism is his way. It suited her wonderfully. A box brings together his works in color. Christmas continues. Happiness never comes alone, we reissue the Notebooks that he held the last thirty years of his life. This high tonnage volume is one of a kind, neither diary nor work manual. Here again, laconism prevails.

From 1933, the color was announced: “Come to think of it, my ambition is to become a good craftsman.” The goal will be largely achieved. Ozu is that craftsman no one has succeeded in imitating – one would have to be crazy to try. Notes are rarely more than three lines. There is a lot of talk about the weather. The menus are detailed (gluttony which is found on the screen).

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