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Banshun (VOSTA)
Main screening room
October 2nd, 2021
108 min
1+1/24 images

À l’occasion de la publication du 200e numéro de la revue de cinéma 24 images, nous accueillons leurs auteurs pour une série de projections doubles qui promettent de nourrir adéquatement le cinéphile avide ! Au menu : Wong Kar-wai, Yasujirō Ozu, Tsai Ming Liang, Sofia Coppola… Chaque projection sera présentée par l’un des auteurs de la revue.

Late Spring
Directed by
Yasujiro Ozu
Japanese with English subtitles
Chishû Ryû, Setsuko Hara, Yumeji Tsukioka
108 min
35 mm

One of the most powerful of Yasujiro Ozu’s family portraits, Late Spring (Banshun) tells the story of a widowed father who feels compelled to marry off his beloved only daughter. Eminent Ozu players Chishu Ryu and Setsuko Hara command this poignant tale of love and loss in postwar Japan, which remains as potent today as ever—and a strong justification for its maker’s inclusion in the pantheon of cinema’s greatest directors.

Late Spring

Yasujirō Ozu

Yasujirō Ozu, born on December 12, 1903 in Tokyo and died on December 12, 1963 in the same city, was a Japanese filmmaker. Eager to become a director, he became an assistant to Tadamoto Ōkubo in 1926 and the following year directed his first film, The Penitential Sword, collaborating for the first time with the man who would be the screenwriter for many of his future works: Kogo Noda. In the mid-1930s, he became one of Japan's most famous directors, equally talented in comedy, drama and film noir. In both genres, he focused on Japanese family life, a witness to the social upheavals of the time.



“Late Spring” and the Blossoming of Ozu and Hara

Its director, sometimes referred to as the “most Japanese director of all time”, and star are both Japanese icons, though the duo are rarely viewed as a revolutionary combination. Yet, Late Spring was made during a period in Japan’s history after World War II when American forces occupied the country...

Full cast
L'opposition modernité (machinisme, anglicisation, gâteau crémeux) et tradition (intégration à la nature, références aux arts anciens, gâteau de soja) se retrouve imbriquée dans ce récit de la solitude inévitable comme dans la manière de raconter. Plus mobile qu'on ne l'a écrit, la caméra l'est, mais pour saisir train, bicyclette, ce qui a les apparences du pouvoir et de la liberté.
Claude Blouin (1984)
About Yasujirô Ozu