It's remarkable just how much depth this film had. It was so understated, yet so impactful. And the symbolism, it was so subtle, yet so powerful and provocative. The magazines sliding off the books on the chair, the apple being peeled at the end, the vase, and all those static shots of the temples and other remnants of traditional Japan. Is Ozu quite possibly the single greatest director ever?
>>63186631
>single greatest director ever
Wrong way to go about talking about artists anon, but I agree with you about Ozu being a very talented filmmaker.
>>63186706
top 5 then?
what film is it, you obscurantist hipster cunt
>>63188228
Why are you obsessed with lists? Is he a talented artist? Do his films have depth? Then he is great. The distinction between worthwhile and not worthwhile films is binary, something either is or is not art. If it's art I consider it to be worth my time, if not, it's called capeshit or whatever and I do t bother.
>>63188291
>He doesn't recognize every frame of every Ozu film
Plen
>>63188435
>The distinction between worthwhile and not worthwhile films is binary, something either is or is not art.
but what is your definition of art? and can't it be true that there's art to be found in even the most commercial of films?
>>63188463
>implying they're not all the same
>>63188630
My def is probably different than yours, so it's a personal Distinction, but I tend to favor formalism over acting and performance of you are curious about my criteria. And yes, even in commercial films there can be found artistic merit, but it's typically rare in Hollywood blockbuster films.
>>63188630
>can't it be true that there's art to be found in even the most commercial of films?
Yes.
>>63188291
Late Spring
