• Mise-en-scene master Imamura gives us a solid B, or B- effort here—constantly messing with the frame in creative ways, he split’s it in half once with an umbrella stand
  • Many shots through windows and glass
  • Has the trademark abundance of raw sexuality and fetish—the “venting” woman paired with sex and shoplifting. I see a tiny bit of this here in del Toro’s The Shape of Water
  • Another creative shot during the first scene sex through the mirror
  • Wooden object in the foreground just like Imamura’s master Ozu would do
foreground/background mastery– Ozu-like shot here
  • Framing again and again- blinds and shoji doors creating planes for the varying depths of field
  • Red and green light used frequently- trash can in her place is a light green plastic one, the red bridge obviously, her dresses, scarf at the end
  • Odd surrealism cell sequence- don’t love it
odd sequence not fully formed

  • Imamura’s last film
  • Kôji Yakusho lead would later be in Babel (2006)
  • Breezy- light
  • Gorgeous shot of the two talking through a window, wooden frames breaking up the mise-en-scene with the white cap mountains in reflection
  • Long take fighting with a gangster
  • Highly Recommend