Kôhî jikô (2003)

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Director:

Hsiao-Hsien Hou

Writers:

Hsiao-Hsien Hou (screenplay), T'ien-wen Chu (screenplay)

Stars:

Yo Hitoto, Tadanobu Asano, Masato Hagiwara

2 wins & 2 nominations.

Cast

Credited cast:
Yo Hitoto	...	Yôko
Tadanobu Asano	...	Hajime Takeuchi
Masato Hagiwara	...	Seiji
Kimiko Yo	...	Yôko no keiba
Nenji Kobayashi	...	Yôko no otôsan
Rest of cast listed alphabetically:
Keiichi Asada
Yukio Endô
Yôko Hoshi
Mikiko Kakizawa
Hiroko Kumada
Kikutarô Mitobe
Sumiko Mitobe
Masaru Motegi
Hiroko Ninomiya
Yasuko Ogata

Storyline

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Plot Keywords:

no opening credits | urban setting | telephone call | family relationships | train | 

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Genres:

Drama

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Details

Country:

Japan Taiwan

Language:

Japanese English

Release Date:

September 2004 (Japan)

Also Known As:

Café Lumière

Filming Locations:

Tokyo, Japan

Company Credits

Production Co:

Shochiku Company, Asahi Shimbunsha, Sumitomo Corporation

Technical Specs

Runtime:

103 min 108 min

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

This is Hsiao-Hsien Hou's first film to be shot in Japan.

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Soundtracks

Formosan Dance, Op.1
Composed by Wen Ye Jiang
Performed by J. Y. Song

User Reviews

homage to Ozu

One needs to watch carefully and attentively this film which is not easy, but reserves a lot of interesting and beautiful things, despite a lack of story or actually despite the story not being in the focus of the director. It is a reverence by Taiwanese director Hou Hsiao-Hsien to the Japanese master director Ozu on the 100th anniversary of it's birthday. However, it is not a film of quotes, but rather a travel to research what is left of Ozu's world in the Japan of today, and the connection between Taiwan and Japan in the world that was once Ozu's.

There are a lot of trains in this film. This passion for railways may be taken from Ozu, but in 'Cafe Lumiere' about third of the film happens in trains or railway stations. A memorable sequence describes the universe of metropolis with trains entering and exiting tunnels, another shows in a computer generated drawing an universe of trains, squeezing a minuscule uterus and a child - maybe the expected child of Yoko, the principal character of the film, or maybe symbol of fragility of our existence in the modern world.

Another fantastic scene of cinema presents the house of Yoko's parents at her arrival. We can see just Yoko's mother in the last plane preparing food in a lit kitchen, then the kitchen is framed by the house guest room, which is at its turn framed by the doors and external walls of the house. Then the sound of a car is heard, and we more guess than see the arrival of Yoko and her father reflected in a glass door. Four planes in the same frame, with no move of the camera.

The story is minimalistic, and whoever looks for action risks to be deeply bored. The actors perform so well that the word 'perform' is not not adequate here, they live the characters. They seldom interact, they never stare in each others eyes, but rather look in different planes, same as the trains movements never intersect. They do however care for each other, and the story is a delicate one of familial solidarity and deep friendship in a world that may look frightening. These characters could have been part of a film by Ozu.