Just...Imagine being at this level of cinema in the 50s. From the storytelling to its composition, Ozu was way ahead of his time; yet he was also able to evoke a sense of warmth that is specific to his era. What I enjoyed the most about this film is how the commonplace salutation was depicted as both useful and useless, a ‘social lubricant’ that holds together our complex characters.The children, from their lack of experience, obviously could not comprehend the reason behind the idle talk of the adults and had the simplest intention to protest in silence when their parents refuse to buy them a television set. The neighbouring housewives, disconcerted by a vanished due, blamed each other through indirect speech and misinterpreted the children’s actions in order to satisfied their own gossipy nature. The children’s English teacher and their aunt, interested in one another, chose to use the same sort of greetings as a way to delicately express and decode their reciprocal love. The fart jokes and the commonly used ‘I love you’ of Isamu were the linguistic instrument, the small talk of the children. They proleptically hints a change of attitude and serve as a way to communicate a youthful innocence.The beauty and redundancy of our ordinary language was mirrored in this film, providing us with an wholesome introspection into our day-to-day lives. This is the first Ozu film that I have seen and I’m definitely drawn to watch more now; I’m captivated by his compositional geometries, his narrative and how he subtly speaks his genius.