In recent years, Kore-eda Hirokazu has become one of my favourite filmmakers, and his latest is one of his best yet. It’s a film of the utmost elegance and grace, and something like catnip if you’re an admirer of Japanese culture. Here the master of domestic observation puts his focus squarely on sisterhood, with a tale of three young women adopting their half sister Suzu after their father’s death. As an addition to the sisterly trio’s home, Suzu’s arrival brings about growth and awakenings in their lives, as well as her own.
There is what may be seen as a lack of conflict and drama in Our Little Sister, even compared to Hirokazu’s previous films, which are all fairly gentle. Yet enormous meaning can be found in the simple story as a sweet, tender ode to the beauty of nature and sisterly love. It’s a very subtle film and if you don’t get on board, I imagine it could be a fairly boring experience – but for those who do, there is great pleasure to be found in teasing out the narrative nuances, which tell so much while generally saying so little.
The meticulous work by cinematographer Mikiya Takimoto is a huge part of the film’s charm, with ultra-slow tracking shots simultaneously emphasising family dynamics as well as classical Japanese home design, and succulently framed shots of food sure to make mouths water. But there are two particularly gorgeous standout sequences that made my heart soar – Suzu’s bike ride through a cherry blossom tunnel, and a fireworks display’s reflections dancing on the ocean. To top it all off, the visual splendour is enhanced by Yoko Kanno’s brilliant, honeyed score.
Our Little Sister is a moving and achingly beautiful feast for the soul.
‘Our Little Sister’ Movie Times
Other Hirokazu Titles to Watch: I Wish, Like Father, Like Son, Still Walking
