I really loved Kore-eda's first feature "Maboroshi No Hikari", so I had been looking forward very much to seeing "Afterlife" (named "Wandafuru raifu" in Japanese, after Frank Capra's movie "It's a wonderful Life") during its run in London.
At first I noticed that the film is formally very different from its predecessor; while "Maboroshi No Hikari" owes much to the influence of Ozu, and especially Hou Hsiao-hsien, "Afterlife" draws more on the directors background as a documentary filmmaker. What the two films share, however, is the theme of memory (Note: also a theme with Hirokazu Kore-eda's documentary work - check out "Without Memory", about a man suffering of severe amnesia). In "Maboroshi No Hikari" Yumiko is not able to forget the memory of her dead husband, whereas in "Afterlife" the recently deceased must chose one memory that will accompany them into eternity.
I feel that Kore-eda handles this entirely hypothetical premise in the best possible way, by steering completely clear of the stylistic superficialities with which so many other films about life after death desperately try to make themselves believable. The unspectacular old school building as a setting, the ceiling window with its interchangeable templates for the different stages of the moon, a character who himself has doubts as to whether this is really the best way of going to the next world and the absence of any religious connotations, among other things, all serve to keep the focus on the characters and their memories - many of whom are actually real. Apart from tongue in cheek humour, the lack of music also prevents over-sentimentalization and makes the memories the people recall the more sincere. The no-budget filming of the recollections of the deceased in order to trigger their personal memory, toward the end of the movie, also illustrates that the director is fully aware of his own limitations and possibilities as a film-maker. Rather than just trying to create the illusion of some half-baked version of the hereafter, he wants to challenge the viewer to reflect on what would be his/her most important memory - and succeeds in every way.
This is a movie that surly can be appreciated by anyone who possesses at least a tiniest inkling of openness and willingness to experience cinema as more than mere entertainment. Top mark for this one!
At first I noticed that the film is formally very different from its predecessor; while "Maboroshi No Hikari" owes much to the influence of Ozu, and especially Hou Hsiao-hsien, "Afterlife" draws more on the directors background as a documentary filmmaker. What the two films share, however, is the theme of memory (Note: also a theme with Hirokazu Kore-eda's documentary work - check out "Without Memory", about a man suffering of severe amnesia). In "Maboroshi No Hikari" Yumiko is not able to forget the memory of her dead husband, whereas in "Afterlife" the recently deceased must chose one memory that will accompany them into eternity.
I feel that Kore-eda handles this entirely hypothetical premise in the best possible way, by steering completely clear of the stylistic superficialities with which so many other films about life after death desperately try to make themselves believable. The unspectacular old school building as a setting, the ceiling window with its interchangeable templates for the different stages of the moon, a character who himself has doubts as to whether this is really the best way of going to the next world and the absence of any religious connotations, among other things, all serve to keep the focus on the characters and their memories - many of whom are actually real. Apart from tongue in cheek humour, the lack of music also prevents over-sentimentalization and makes the memories the people recall the more sincere. The no-budget filming of the recollections of the deceased in order to trigger their personal memory, toward the end of the movie, also illustrates that the director is fully aware of his own limitations and possibilities as a film-maker. Rather than just trying to create the illusion of some half-baked version of the hereafter, he wants to challenge the viewer to reflect on what would be his/her most important memory - and succeeds in every way.
This is a movie that surly can be appreciated by anyone who possesses at least a tiniest inkling of openness and willingness to experience cinema as more than mere entertainment. Top mark for this one!