Carla juri icons1/21/2024 Inevitably, then, it’s all somewhat downhill from there. The opening shot is absolutely stunning, revealing more layers to the city in one composition than you might have thought imaginable through it all, Eric Lin’s cinematography is lovely. Well, great, who wouldn’t? (OK, Michael Bay wouldn’t.) But wanting and doing are two different things, and Gray comes across as something of a cultural tourist here as he chronicles the admirable efforts of Chloe as she deals, on a day-to-day basis, with a loss that only time will truly help her manage. Gray is quoted as saying that he aspired to match the feel and tone of Hou Hsiao-Hsien’s Café Lumiere and the late, great Japanese director Yasujiro Ozu. As we watch Chloe (the appealing and emotionally accessible Juri) arrive in Japan, where she has lived before, and begin to attempt to cope with her husband’s death, we get a little introduction to soba preparation while trying to adjust to a language barrier that mostly forces everyone to be polite but awkward while trying to communicate it certainly rules out any deep discussion about anything important, most of all Chloe’s emotional and mental states. The writer-director’s style is entirely observational rather than involving it does nothing to pull you into the story. It’s no way to develop a dynamic within a scene or to reveal anything other than actors working in colorful surroundings. ![]() Gray, whose little-seen films over the past two decades are Salt, The Exploding Boy and Jack and Diane, has developed a style that as much as anything likes to position its actors in fantastically attractive settings a typical scene involves a single shot in which a person or persons start far away and gradually walk closer and closer to the camera, even though the sound remains consistently clear and steady. 2023 Premiere Dates For New & Returning Series On Broadcast, Cable & Streaming
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