Okuribito

One hundred and thirty minutes of melancholy in the form of an excursion into a world where even the cold Japanese don't put on their everyday masks. No more, no less. (2009.06.11)

Behind the pretty pictures, underneath the odd music by Hisaishi, there is pathos, a lack of logic, randomness like mad, and in general it has a lot of flaws. It's a nice film, watchable, and if you can get that gnawing worm in the back of your head to finally stop commenting on it, you might even enjoy it a lot. Unfortunately, I couldn't find the off button, so for me the film is nothing more than a mediocre work by Japanese people who have done other, probably better things on this subject (just check Yamazaki Tsutomu's filmography). There are good actors, gorgeous photography, Japanese prejudice (where it was clear how it would end), but what ties it all together is worth the price of admission (and no, I'm actually not talking about the amazing music!). (2012.04.15)

I usually have a problem with East Asian films due to the difference in culture, so I tend to be reserved in my reviews. However, Departures had an impact on me with its message, and I had no problem accepting it. The only reservation I have is the pace of the storytelling, which doesn't rush, and the runtime, which could be daringly shortened by about 15 or maybe 20 minutes. The main protagonist Daigo faces the problem of losing his job and the collapse of his life's dream, and in distress, he settles for the first job he finds in an advertisement. It turns out to be a truly peculiar profession of a guide for the deceased, who prepares them for their farewell with the bereaved and funeral rites. From this, it follows that Departures is actually a film about coping with death and the loss of loved ones. It skillfully balances on the edge of sentimentality and evokes truly deep emotions without any cheap gestures. Beautifully written, directed, and acted. Overall impression: 85%. (2010.11.21)