Yasujiro Ozu

An Autumn Afternoon

An Autumn Afternoon

The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization. Though the widower Shuhei (frequent Ozu leading man Chishu Ryu) has been living comfortably for years with his grown daughter, a series of events leads him to accept and encourage her marriage and departure from their home. As elegantly composed and achingly tender as any of the Japanese master’s films, An Autumn Afternoon is one of cinema’s fondest farewells.

Film Info

  • Yasujiro Ozu
  • Japan
  • 1962
  • 113 minutes
  • Color
  • 1.37:1
  • Japanese
  • Spine #446

Special Features

  • New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
  • Audio commentary featuring film scholar David Bordwell, author of Ozu and the Poetics of Cinema
  • Excerpts from “Yasujiro Ozu and The Taste of Sake,” a 1978 episode of the French television program Ciné regards, featuring critics Michel Ciment and Georges Perec, that looks back on Ozu’s career
  • Trailers
  • New English subtitle translation
  • PLUS: Essays by critic Geoff Andrew and scholar Donald Richie

New cover by Michael Boland

Purchase Options

On backorder, available Nov 9, 2018

Special Features

  • New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
  • Audio commentary featuring film scholar David Bordwell, author of Ozu and the Poetics of Cinema
  • Excerpts from “Yasujiro Ozu and The Taste of Sake,” a 1978 episode of the French television program Ciné regards, featuring critics Michel Ciment and Georges Perec, that looks back on Ozu’s career
  • Trailers
  • New English subtitle translation
  • PLUS: Essays by critic Geoff Andrew and scholar Donald Richie

New cover by Michael Boland

An Autumn Afternoon
Cast
Chishu Ryu
Shuhei Hirayama
Shima Iwashita
Michiko Hirayama
Keiji Sada
Koichi
Mariko Okada
Akiko
Teruo Yoshida
Yutaka Miura
Noriko Maki
Fusako Taguchi
Shinichiro Mikami
Kazuo
Nobuo Nakamura
Shuzo Kawai
Eijiro Tono
Sakuma, “the Gourd”
Kuniko Miyake
Nobuko
Kyoko Kishida
The bar hostess
Michiyo Tamaki
Tamako
Ryuji Kita
Shin Horie
Toyo Takahashi
Waitress at Wakamatsu
Shinobu Asaji
Youko Sasaki
Masao Oda
Classmate
Daisuke Kato
Yoshitaro Sakamoto
Haruko Sugimura
Tomoko
Credits
Director
Yasujiro Ozu
Writers
Kogo Noda
Writers
Yasujiro Ozu
Producer
Shizuo Yamanouchi
Cinematographer
Yuharu Atsuta
Art directors
Tatsuo Hamada
Art directors
Shigeo Ogiwara
Music coordinator
Takanobu Saito
Lighting
Kenzo Ishiwatari
Editor
Yoshiyasu Hamamura
Sound editor
Ichiro Ishii
Assistant director
Kozo Tashiro

From The Current

An Autumn Afternoon: A Fond Farewell

An Autumn Afternoon: A Fond Farewell

It was never, of course, Yasujiro Ozu’s intention that An Autumn Afternoon (1962) should be the final film of his thirty-­five­-year career as a writer­-director. Indeed, before he died on his sixtieth birthday, in December 1963, he had made not…

By Geoff Andrew

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An Autumn Afternoon: Ozu’s Diaries

An Autumn Afternoon: Ozu’s Diaries

After Ozu died on his sixtieth birthday, December 12, 1963, some thirty-two diaries were discovered. They were from 1933 to 1963, and though a few years were missing, they offer a commentary on the life of the director and reveal something of his per…

By Donald Richie

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In Search of Ozu
In Search of Ozu

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Lions in Winter

Some of cinema’s most revered directors enjoyed extraordinary bursts of creative energy during their twilight years, delivering films that showcase a mastery of the craft they had honed over their long careers. This week on the Criterion Channel, o…

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Did You See This?

Autumn Classics, Corman on the Future, Kent Jones Remembers Welles

To celebrate the beginning of autumn this week, the BFI has published a list of ten films set during the season, including Douglas Sirk’s All That Heaven Allows, Yasujiro Ozu’s An Autumn Afternoon, Wes Anderson’s Rushmore, and Ingmar Bergman’…

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Explore

Yasujiro Ozu

Writer, Director

Yasujiro Ozu has often been called the “most Japanese” of Japan’s great directors. From 1927, the year of his debut for Shochiku studios, to 1962, when, a year before his death at age sixty, he made his final film, Ozu consistently explored the rhythms and tensions of a country trying to reconcile modern and traditional values, especially as played out in relations between the generations. Though he is best known for his sobering 1953 masterpiece Tokyo Story, the apex of his portrayals of the changing Japanese family, Ozu began his career in the thirties, in a more comedic, though still socially astute, mode, with such films as I Was Born, But . . . and Dragnet Girl. He then gradually mastered the domestic drama during the war years and afterward, employing both physical humor, as in Good Morning, and distilled drama, as in Late Spring, Early Summer, and Floating Weeds. Though Ozu was discovered relatively late in the Western world, his trademark rigorous style—static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects—has been enormously influential among directors seeking a cinema of economy and poetry.