A family gathers together for a commemorative ritual whose nature only gradually becomes clear.A family gathers together for a commemorative ritual whose nature only gradually becomes clear.A family gathers together for a commemorative ritual whose nature only gradually becomes clear.
- Awards
- 11 wins & 9 nominations
Storyline
Did you know
- TriviaIn a 2009 interview, Koreeda stated that Still Walking was based on his own family.
- GoofsAt the end, when the grandparents cross the road after Ryota and his family depart by the bus, their positions change between shots at the zebra crossing.
- Quotes
Atsushi Yokoyama: There's nothing to watch on TV these days. They laugh so loud but nothing's funny.
- ConnectionsReferenced in Il était une fois...: Une affaire de famille (2021)
Featured review
Its not often I return to see a film immediately to see it again, but this is a film which demands it. This is a masterly film by Koreeda following an ordinary middle class Japanese family has they have an annual reunion to commemorate the older brother who died rescuing a boy from drowning. In its slow, gentle, poetic way, this film brings us into the heart of the family so well you feel it is your own - indeed, the characters are so real, so richly portrayed, that you almost come to believe you know them as well as your own family.
A simple plot précis doesn't do justice to what this film is about. It shines a light into those repressed areas of resentment, sentimentality, nostalgia, guilt and desire that are so often hidden behind a facade of politeness. Koreeda is too subtle a director to have any big blow ups or surprises - he reveals his characters in a gentle manner as detail is laid upon detail. When the ending comes it is not a surprise, but it is still profoundly moving and thought provoking. This is a film that will stay with you long after you leave the cinema.
A lot has been made about the films debt to Ozu. I think this is very overstated - although there are one or two stylistic nods to Ozu at the beginning, Koreeda is a very different type of film maker. Unlike Ozu he uses tiny surreal moments of beauty to contrast with the realism of the rest of the film. His use of editing and camera work is far less formal and rigorous - instead he allows the camera to follow the characters, revealing the layers of the home. And most importantly, while Ozu emphasised the death of the traditional Japanese family and considered it with sad resignation, Koreeda sees families as all alike, stuck in a series of inescapable cycles. In many respects this film reminded me more of some of Naruse's classic films than Ozu.
The cast is uniformly excellent, with Kiki Kirin utterly wonderful as the grandmother. The only very small quibble I have with the casting is that Koreeda succumbed somewhat to casting some characters who are a little too elegant and good looking for the 'normal' people they portray. Hiroshi Abe and Yui Natsukata are maybe a little too good looking to be convincing as the less than 100% welcome family members. But that is a very minor criticism of what is a terrific ensemble piece.
I think this film is one of the finest of the year and may well come to be seen as a classic. It can certainly sit comfortably with any of the great films of Japans golden era.
A simple plot précis doesn't do justice to what this film is about. It shines a light into those repressed areas of resentment, sentimentality, nostalgia, guilt and desire that are so often hidden behind a facade of politeness. Koreeda is too subtle a director to have any big blow ups or surprises - he reveals his characters in a gentle manner as detail is laid upon detail. When the ending comes it is not a surprise, but it is still profoundly moving and thought provoking. This is a film that will stay with you long after you leave the cinema.
A lot has been made about the films debt to Ozu. I think this is very overstated - although there are one or two stylistic nods to Ozu at the beginning, Koreeda is a very different type of film maker. Unlike Ozu he uses tiny surreal moments of beauty to contrast with the realism of the rest of the film. His use of editing and camera work is far less formal and rigorous - instead he allows the camera to follow the characters, revealing the layers of the home. And most importantly, while Ozu emphasised the death of the traditional Japanese family and considered it with sad resignation, Koreeda sees families as all alike, stuck in a series of inescapable cycles. In many respects this film reminded me more of some of Naruse's classic films than Ozu.
The cast is uniformly excellent, with Kiki Kirin utterly wonderful as the grandmother. The only very small quibble I have with the casting is that Koreeda succumbed somewhat to casting some characters who are a little too elegant and good looking for the 'normal' people they portray. Hiroshi Abe and Yui Natsukata are maybe a little too good looking to be convincing as the less than 100% welcome family members. But that is a very minor criticism of what is a terrific ensemble piece.
I think this film is one of the finest of the year and may well come to be seen as a classic. It can certainly sit comfortably with any of the great films of Japans golden era.
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Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- Even If You Walk and Walk
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $167,047
- Opening weekend US & Canada
- $20,298
- Aug 30, 2009
- Gross worldwide
- $3,511,120
- Runtime1 hour 55 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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