À quoi s’attendre
Late Spring established the emotional and formal pattern of Yasujirō Ozu’s later masterpieces. Widowed professor Shukichi lives contentedly with his adult daughter Noriko, but relatives insist that her marriage is overdue. Ozu builds the drama from domestic routines, polite conversation, train journeys, and decisions discussed indirectly. Setsuko Hara’s smile can express warmth, resistance, and pain within the same moment, while Chishū Ryū gives the father’s restraint equal complexity. The film’s still compositions and transitional images make change visible without forcing it into melodrama.
Comment aborder le film
The conflict is quiet but not slight. Pay attention to what characters say for someone else’s benefit and what remains unspoken after a smile. Ozu’s low camera and cutaway images are not pauses from the story; they help you feel the household’s continuity and the pressure of approaching change.
À savoir
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The home feels stable because its rituals are gentle, not because change is absent. Ozu watches people protect one another with partial truths, then lets the empty spaces register the cost. A room can remain exactly arranged and still become a different life.
— Momo
Générique et versions
- Distribution
- Chishu Ryu — Shukichi Somiya · Setsuko Hara — Noriko Somiya · Haruko Sugimura — Masa Taguchi · Yumeji Tsukioka — Aya Kitagawa
- Scénario
- Kogo Noda · Yasujiro Ozu
- Production
- Takeshi Yamamoto
- Photographie
- Yuharu Atsuta
Carte des versions
Pour regarder et lire
| Action | Search destination |
|---|---|
| Watch | Check availability on JustWatch |
| Rent | Search rentals on Apple TV |
| Read | Search books on Bookshop.org |
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