ڈرامہسال2008دورانیہ1h 55mIMDb7.9

Still Walking

Name: Still Walking
Genre: ڈرامہ
Released: 2008-06-28
Rating: 7.9

ڈرامہ

A family gathers together for a commemorative ritual whose nature only gradually becomes clear.

ابھی دیکھیں

ٹریلر

کاسٹ

Hirokazu Koreeda

Director

Hiroshi Abe

Ryôta Yokoyama

Yui Natsukawa

Yukari Yokoyama

You

Chinami Kataoka

Kazuya Takahashi

Nobuo Kataoka

Shohei Tanaka

Atsushi Yokoyama

Hotaru Nomoto

Satsuki Kataoka

Ryôga Hayashi

Mutsu Kataoka

Susumu Terajima

Sushi Deliverer

Haruko Katô

Fusa Nishizawa

Kirin Kiki

Toshiko Yokoyama

Yoshio Harada

Kyôhei Yokoyama

Hirokazu Koreeda

Writer

تبصرے

10 تبصرے

la meuf de tiktokMar 13, 2026

Binod BoharaJul 16, 2024

Gabri Ël PånDåJul 16, 2024

hassan njieJul 16, 2024

Thereal.phrankieMay 27, 2023

Angela Amonoo-NeizerFeb 15, 2023

"Aruteimo, Aruteimo", directed by Hirokazu Koreeda, starts off very pedestrian-like (no joke intended) but grows in importance and substantive weight of it's content. (Major Spoilers) Taking a good 30 min to unveil it's true story arc and purpose, this movie is a bit slow to rise, but once we understand the impact of the memorial much of the character's motivations are understood and become clear. (Spoilers) I enjoyed the butterfly scenes, and the mother expressing her grief through it. Although the beginning of the movie does not have narration, the end blasts in with it, almost crushing us with it's lamentation. It serves a good warning - that people may have good intentions, but often important or friendship-building plans get forgotten or fail to materialize. A poignant drama despite slow pacing.

Sidoine EttienFeb 15, 2023

A respected art house audience film that likewise connects with critics. This Ozu-influenced drama is heavy on Japanese culture, particularly family values. Those unfamiliar with this culture may have difficulty understanding character thinking and motivation. For myself, I tend to appreciate the authentic look to the drama, without feeling or caring much about what happens. The often static camera during family meals (the time spent eating seems to be filmed in real time) didn't help much in providing movement to the enactment. Actually, I prefer the French film, "A Sunday in the Country," which has a similar feel and is much more involving. That's purely my reaction, and will concede the art house where it's playing is the best place for it and where it needs to be.

I.M PATELFeb 15, 2023

I very much enjoyed Nobody Knows (Dare Mo Shiranai) and After Life (Wonderful Life) immensely and found another good and engaging movie with Still Walking. Kore Eda seems to be in a small group of directors who use minimal music and other traditional movie elements in order to convey the story to the viewer. Just as talking in a low voice will elicit the heightened command of a listener, so too does Kore Eda use subtle dialogue and action to focus the viewers attention to what's going on. I can totally relate to the family in Still Walking because they come across as anyone's family. Literally. I felt as though I could have been watching my own family and not some Japanese family to whom I could not relate. All the elements are there from the big-city adult children coming to visit their small-town parents with their children en tow. The interplay between the fast pace of urban life and slow pace of rural life meet somewhere in the middle. Throughout, I felt as I usually do in a Kore Eda movie: a silent and invisible observer. The premise of the movie is that the family gathers together once a year on the anniversary of the death of the eldest son who we learn had drowned saving the life of another person who himself was attempting to commit suicide by drowning in the sea. As you may know, in Japanese society, if you save the life of someone who wishes to commit suicide, you effectively are responsible for their life going forward. In this case, the person doing the saving, the eldest son, had died in the process. So we see the person who he saved return year after year to be reminded in an indebted but somewhat cruel manner that he is alive and that he will be, for the rest of the parent's of deceased lives, be required to suffer the (cultural) humility of "being alive" while their son is dead. We also see the typical social dilemma of what to do as ones aging parents and additional interplay between the surviving son and his new, but widowed, wife and her child. We've seen the transaction a million times in other movies: mother in law has her comments and opinions, wife complains to the husband about her and her son's treatment, son has to either stand up to the parents or find some middle ground. All in all, it's well played out and I was very pleased by this film. It's an amalgam of growth, change, sacrifice, forgiveness, and the road we all have to travel as we get older or if we have children ourselves. Oddly though, the film's title doesn't make sense until near the end of the movie.

Prince AkFeb 15, 2023

Forty-something art restorer Yokoyama Ryota (Abe Hiroshi) reluctantly returns to his parents' home with his new wife Yukari (Natsukawa Yui) for a rare reunion. The family is holding a memorial for the eldest son who passed away 15 years ago, and Ryota has not been looking forward to the occasion. To his father (Harada Yoshio), Ryota can never compare to his late brother, and silent resentment has accumulated between father and son over the years. Likewise, Ryota's mother (Kiki Kirin) carries years of bottled frustrations and disappointments that slip out in casual, cutting remarks. Only sister Chinami (You) seems to somehow keep herself above the family drama. As the day wears on, the family runs through the simple gestures and complex emotions that keep them together and push them apart.

tik tok Gambia🇬🇲🇬Feb 15, 2023

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.

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