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An Autumn Afternoon
Directed by
Yasujirō Ozu
1962
1h 54m
Not Rated
Drama
8
95%
91%
Watch
An aging widower arranges a marriage for his only daughter.
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Cast of An Autumn Afternoon
Chishū Ryū
Shuhei Hirayama
Shima Iwashita
Michiko Hirayama
Keiji Sada
Koichi
Mariko Okada
Akiko
Teruo Yoshida
Yutaka Miura
Noriko Maki
Fusako Taguchi
Shinichirō Mikami
Kazuo
Nobuo Nakamura
Shuzo Kawai
Eijirō Tōno
Sakuma, The 'Gourd'
Kuniko Miyake
Nobuko
Kyōko Kishida
Madame Kaoru
Ryuji Kita
Tamako
Toyo Takahashi
Wakamatsu's Owner
Shinobu Asaji
Youko Sasaki
Masao Oda
Watanabe
Fujio Suga
Bar Customer
Zenichi Inagawa
Bar Customer
Daisuke Katō
Yoshitaro Sakamoto
Haruko Sugimura
Tomoko Sakuma
Michiyo Tamaki
Tamako Horie
Matsuko Shiga
Woman in the Apartment
Tami Yamamoto
Kentarô Imai
Hisayo Komachi
An Autumn Afternoon Reviews
EmanuelLevy.Com
Emanuel Levy
Ozu's very last film is one of his strongest, a sharply observed family drama that exhibits his remarkable rigorous style.
Old School Reviews
John A. Nesbit
Once again, some of the most powerful emotions evoked are due to Ozu's minimalist imagery
Filmcritic.com
Jason Morgan
a relatable slice of life and, for Ozu fans, a final glimpse into a director's evolving thoughts on life and culture in his last film.
Slant Magazine
Eric Henderson
What do all these subtle modifications to the otherwise similar template suggest?
IONCINEMA.com
Nicholas Bell
This close relationship between father and daughter faced with an inevitable departure makes for some finely understated melancholy undercurrents.
Dennis Schwartz Movie Reviews
Dennis Schwartz
This is what a masterpiece looks like.
New Yorker
Richard Brody
The fatal bargain of old age has rarely been observed as sharply as in Yasujiro Ozu's last film, from 1962.
Variety
Variety Staff
This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent.
Chicago Reader
Dave Kehr
Stylistically it's one of Ozu's purest, most elemental works: no camera movement, very little movement within the frames, and hardly any apparent narrative progression.
New York Magazine/Vulture
Judith Crist
No Hitchcock McGuffin, no Sleuth-like turnabout can surpass the suspense that Ozu builds slowly and subtly to crisis and climax.
Classic Film and Television
Michael E. Grost
Rich drama about quiet male bonding has visual creativity.
Combustible Celluloid
Jeffrey M. Anderson
It's also a remarkable example of a "last film." It sums up a career's worth of work, while simultaneously looking ahead and coming to terms with new ideas.
New York Times
Such a completely realized example of the Ozu art that it seems impossible he did not intend it to be a kind of testament.
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