| Videos |
| Yôichirô Saitô | ... | Machiko's husband | |
| rest of cast listed alphabetically: | |||
| Kanako Masuda | ... | Mako | |
| Machiko Ono | ... | Machiko | |
| Shigeki Uda | ... | Shigeki | |
| Makiko Watanabe | ... | Wakako | |
Directed by | |||
| Naomi Kawase | |||
Writing credits(in alphabetical order) | ||
| Naomi Kawase | writer | |
Produced by | |||
| Christian Baute | .... | associate producer | |
| Christian Baute | .... | producer | |
| Shunji Dodo | .... | associate producer | |
| Naomi Kawase | .... | producer | |
| Hengameh Panahi | .... | executive producer | |
Original Music by | |||
| Masamichi Shigeno | |||
Cinematography by | |||
| Hideyo Nakano | |||
Film Editing by | |||
| Tina Baz | |||
| Yuji Oshige | |||
Production Design by | |||
| Toshihiro Isomi | |||
Art Direction by | |||
| Toshihiro Isomi | |||
Makeup Department | |||
| Yuka Sumimoto | .... | key makeup artist | |
Production Management | |||
| Pascal Metge | .... | post-production supervisor | |
Sound Department | |||
| Shigetake Ao | .... | sound | |
| Vincent Mauduit | .... | sound re-recording mixer | |
| Rin Takada | .... | boom operator | |
| David Vranken | .... | supervising sound editor | |
Camera and Electrical Department | |||
| Masami Imura | .... | gaffer | |
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| Börn náttúrunnar | Tôkyô monogatari | Mahler | Wandâfuru raifu | All or Nothing |
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I found The Mourning Forest a poetic and hauntingly beautiful meditation on death, old age, sadness and letting go. I haven't actively sought films that fit into the 'contemplative cinema' category at MIFF, but this is one of several I've seen so far.
The film is effectively a two-hander: Shigeki, an elderly and energetic resident of a retirement home, and Machiko, a young and inexperienced caregiver. The film focuses on their interactions and what happens when Machiko takes Shigeki for a drive on his birthday. While other characters assume fleeting roles, there is a recurring theme of death and mourning, a point that is reinforced by both the title and on-screen comments at film's end. While this may sound morbid, it is anything but.
The cinematography is stunning, capturing the beauty of wind-swept fields, overhead shots of finely-trimmed symmetrical arrays of hedges, and mountain forest scenery. There are long takes where nothing of much significance seems to transpire and yet the film remains completely engaging. The human drama is depicted as inexplicably linked to nature, a poetic theme that Japanese cinema sometimes conveys so effectively.
One slight negative: there was a little bit of unnecessary camera shake that distracted slightly. I saw The Mourning Forest when it screened at the Melbourne International Film Festival.