With the breakup of his Tokyo orchestra, a young cellist returns with his adoring wife to his hometown. Searching for work, he responds to a cryptic ad for work in “Departures”, only to find out that the position is in the ritual preparation of corpses.
This film is not currently playing on MUBI but 30 other great films are. See what’s now showing
It all started so well, before this apocalyptic scene in the middle of nowhere with the rain of cross-fadings. And the music, why, why !
Very interesting to see though, at least the beginning, if you have an already established culture of Japanese movies.
It ventured into sentimentalism more than I liked. It's interesting, however, to see such a light take when the subject is dead. A film that could have been more serious than Winter Light! Being Mexican, we see death as happy, and we even humanize death, but I hadn't seen a film that did something similar. It's enjoyable, but to be honest, I liked Waltz with Bashir much better.
A look at Japanese culture and how families mourn the passing of a loved one.But this over 2 hours film is a bit trying,as we see too many of these ceremonies.
Perhaps Mr Takita should have relied more on the actors,instead of trying to move us with sentimentality.
I was confused because the film itself is unremarkable in terms of: script, camera-work, pace (in fact, it could be condensed to about 90mins), and I found some elements predictable. But the little funeral inserts of characters in no way connected to the plot are beautiful and prompted a couple (well, a fair few) tears. These short sequences managed to condense decades of feeling - impressive but otherwise average.
Why is this predictable, maudlin and ultimately annoying melodrama, propelled by the illogical actions of its characters that make no sense but are performed just because the filmmakers want to further the drama, so overrated? Rubbish film.
A rather woeful Japanese melodrama that plays out like a particularly awful rendition of the quirkiest HBO sitcom offerings. At a complete loss as to why it was rewarded with the Best Foreign Picture Oscar, other than to say it does have the suitably cloying sentimentality that frequently grabs the interest of the Oscargenarians.