This review may contain spoilers
Yi Yi is a film you can watch once, or twice—or five times
At the heart of the film is NJ, the father of a typical Taiwanese family, who finds himself overwhelmed by a cascade of problems familiar to many men in their forties. His wife is struggling emotionally, his mother-in-law has fallen into a coma, his teenage daughter is experiencing first love, and his young son, Yang-Yang, continually invites those around him to see life from unexpected perspectives. It is no coincidence that Yang-Yang appears on most of the film’s posters. Through the boy’s words and actions, Edward Yang conveys the film’s deepest wisdom and central ideas. In Yang-Yang’s relationship with the world—and the world’s relationship with him—we find a profound vision of an existence that is sincere, open, and free from prejudice.Edward Yang constructs his narrative from every thread that contributes to the protagonist’s crisis, creating a film in which virtually every character could be considered the main character. At times, this makes the film feel demanding, even overwhelming, as its ensemble cast can seem almost too expansive. But this complexity is precisely what gives the film its extraordinary realism.
Yi Yi is a film you can watch once, or twice—or five times. With each viewing, you are likely to discover something new: a memory of first love, an encounter with a long-buried past, a difficult teacher from your school days, or one of those moments when moving forward seemed impossible. Or perhaps you will simply be touched by the film’s quiet melancholy, as gentle as a cool October breeze brushing against your face, stirring memories of something deeply cherished.
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The film quietly suggests that death is not an ending, but the beginning of something new
With the gentle, lyrical sound of the cello as its backdrop, Yōjirō Takita's Departures tells the story of Daigo, a Japanese cellist left without work or a means of supporting himself after the dissolution of his orchestra, which had failed to attract audiences largely indifferent to classical music.Then, in one of life's unexpected twists, fate leads the unsuspecting Daigo to a funeral home. Its wise and compassionate owner has transformed the ritual of preparing the deceased for burial into a refined art form, and he hires the timid former musician—who has never even seen a dead body—as his assistant almost on the spot.
The film quietly suggests that death is not an ending, but the beginning of something new. This idea is conveyed through scenes in which Daigo gently washes the bodies of the deceased, carefully wraps them, delicately applies makeup to their closed eyes, and dresses them in beautiful garments. He prepares them not simply for burial, but for a graceful passage into another existence—as though they were brides entering a new chapter of life in magnificent wedding gowns.
Apart from its subject matter, the film's style of storytelling deserves special praise. First, its pacing is remarkably calm and unhurried. Long, meticulously composed shots allow the audience to absorb every detail of the encoffining ritual: every movement of the hands, every careful stroke of the brush carries meaning. Watching these scenes, one feels less like a distant observer behind a television or computer screen and more like a silent participant standing among the grieving relatives, witnessing the final preparation of their loved ones for the infinite journey beyond.
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Recommend to those who enjoy the mystical and supernatural genres
I haven’t read the manga or watched the anime, but the theme of yokai really interests me. And this drama is exactly my kind of thing. I liked absolutely everything about it: the plot, the meaning, the cinematography, the costumes, beautiful scenery, special effects, well-executed stunts, music, acting, and of course the actors themselves.A 14-year-old delinquent dies while saving a child, and he is met by a grim reaper who offers him a job as a ghost detective. That’s where it all begins. The eternal struggle between good and evil… And it’s shown well here that even evil can feel compassion and not be purely evil, but only partly so in form. The drama does a great job revealing the story of each character and showing their relationships. Overall, the film is very easy to watch. There are no meaningless dialogues; everything is to the point, and there’s even humor in some of them. I liked that people and yokai unite to achieve a common goal. Thanks to films like this or “Youkai Sharehouse,” you can get acquainted with yokai culture and learn more about Japanese mythology. The on-screen portrayal of some yokai is truly impressive and astonishing. Just think of the little fox with poisonous flowers or the boy with a dragon arm. There’s also an interesting character in the heavenly office — a guy with a pacifier.
I definitely recommend it not only to fans of anime and manga, but also to those who enjoy the mystical and supernatural genres.
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"Beach Boys" is very cozy and heartfelt drama.
"Beach Boys" is a good old Japanese retro from before modern technological wonders and all those smartphones—very cozy and heartfelt drama.It’s like a life-affirming ode to youth: summer, sun, ocean, beach, the sound of the surf, as well as complete freedom and open roads—a real healing cocktail for melancholy, light and pleasant in taste, warming but with a slight bitterness, garnished for the mood with an umbrella of humor. Recommended for any time of year!
Are we happy? Are we satisfied with life, and how do we find our path, our place, our “own ocean” in this world?
The question of self-determination can be pressing not only at 17–18. At any age, people can rethink and change their lives, if only they have enough strength and courage—and the support of understanding, close people is very important.
But even if you yourself can only timidly dream of turning off the comfortable, well-trodden path, just watching it on screen is incredibly inspiring.
Young, wonderful Sorimachi Takashi and Takenouchi Yutaka form a magnificent male duo in this drama. The characters have completely different personalities and life experiences, but between them we see a true bromance, chemistry without any hint of ambiguity. By a twist of fate, finding themselves neighbors in a cramped little room, they gradually get used to each other—irritation gives way to patience, then comes understanding and genuine, sincere friendship.
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Quite short but pleasant drama about how a modern girl ends up three hundred years in the past
“The Girl Ashigaru” is quite a short but pleasant Japanese drama about how a modern girl ends up three hundred years in the past. If I had to describe the drama in just one word, the first thing that comes to mind is “purity.” That’s the impression it left on me. And above all, it’s the purity of feelings from the main heroine, Yui. According to the plot, she’s an ordinary high school girl who doesn’t shine intellectually, studies poorly, but is cheerful and open with everyone. That’s exactly why almost all the characters in the film respond to her sincerity, and some even become “infected” by her purity and become better themselves. At the same time, there’s no direct moralizing or pushy “let’s all live in harmony” message anywhere. Yui simply becomes that ray of sunshine and a kind of guidepost in a dark world. Even though the time period is shown as harsh—dirt, hunger, battles, etc.—it’s easy to watch. Maybe because the episodes are short, and the director didn’t overload us with gloom and political games… Thanks to him for that. So the pacing isn’t dragged out—that’s a big plus. There’s romance, intrigue, and also comedic moments.Another plus is the lack of excessive introspection in the characters; they don’t get distracted by secondary matters, but once they set a goal, they stubbornly strive to achieve it. As for the acting—I liked both the main and supporting characters.
Overall, I recommend this drama for watching.
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