Ένα αγόρι από την επαρχία μετακομίζει στο Τόκιο με τη μητέρα του, η οποία όμως τον εγκαταλείπει για να δουλέψει σε πανδοχείο, αφήνοντάς τον να ζήσει με τους συγγενείς του. Μέσα από τα μάτια του παιδιού ξεδιπλώνεται μια ιστορία ενηλικίωσης, γεμάτη από τις σκληρές αλήθειες της ζωής στην πόλη και την απώλεια της αθωότητας.
Η «Το Πλησίασμα του Φθινοπώρου» παίζεται σε 1 σινεμά στην πόλη Λος Άντζελες — επόμενη προβολή Σάββατο 18 Ιουλίου στις 13:00 στο Los Feliz 3 Theatre.
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I love a good slice-of-life, especially when it's cleverly written. Told through the children's perspectives, we get a glimpse of the confusion they experience as they try to make sense of what's going on.And I was very invested in that beetle storyline, which made the ending all the more sad.
i absolutely adore slice-of-life movies like this, but naruse takes it to another level -- you think that this is going to be fluffy and sweet, kids getting into small troubles, baseball and beetles, and then the other shoe drops and you're left wondering how any of this will turn out well (spoilers: it doesn't). of his post-war films, this one feels the most like his 1930s era, especially wife! be like a rose's depiction of divorce and the urban exploratory aspects of morning's tree-lined street -- only this time, instead of fixating on the sabotaged ambitions of adults, naruse places the same burdens onto children, who must also move forward even as their hypocritical parents and elders act with impunity, not recognizing or respecting what these kids because they're so caught-up in the vortex of day-to-day living; the empathy that naruse wrings out of the situation is characteristically understated, and all the more powerful for it.
The depressing and realistic portrayal of children young and naive in this world but trying their hardest to understand it.
A young boy from the countryside struggles to adapt to life in Tokyo after his mother leaves him in the care of relatives, marking his painful transition into maturity.
Mikio Naruse directed it in 1960; he is a celebrated master of Japanese golden age cinema known for his profound portraits of women and domestic life.
Yes, this film is a Japanese-language feature and is typically presented with subtitles in international markets.
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