Yasujiro Ozu

Late Autumn

Late Autumn

The great actress and Ozu regular Setsuko Hara plays a mother gently trying to persuade her daughter to marry in this glowing portrait of family love and conflict—a reworking of Ozu's 1949 masterpiece Late Spring.

Film Info

  • Japan
  • 1960
  • 128 minutes
  • Color
  • 1.33:1
  • Japanese

Available In

Collector's Set

Eclipse Series 3: Late Ozu

Eclipse 3: Late Ozu

DVD Box Set

5 Discs


Late Autumn
Setsuko Hara
Akiko Miwa
Yoko Tsukasa
Mariko Okada
Yuriko Sasaki
Keiji Sata
Shotaro Goto
Shin Saburi
Soichi Mamiya
Sadako Sawamaru
Miyuki Kuwano
Masahiko Shimazu
Chishu Ryu
Shukichi Miwa
Yasujiro Ozu
Yasujiro Ozu
Kogo Noda
Based on the novel by
Ton Satomi
Yuharu Atsuta
Art direction
Tatsuo Hamada
Kojun Saito
Yoshiyasu Hamamura


In Search of Ozu
In Search of Ozu

Filmmaker Daniel Raim took a pilgrimage to Japan to get his own firsthand look at some of the most iconic objects in the world of Yasujiro Ozu.

The Signature Style of Yasujiro Ozu
The Signature Style of Yasujiro Ozu
With his singular and unwavering style, Japanese director Yasujiro Ozu disregarded the established rules of cinema and created a visual language all his own. Precise compositions, contemplative pacing, low camera angles, and elliptical storytelling a…


Yasujiro Ozu

Writer, Director

Yasujiro Ozu
Yasujiro Ozu

Yasujiro Ozu has often been called the “most Japanese” of Japan’s great directors. From 1927, the year of his debut for Shochiku studios, to 1962, when, a year before his death at age sixty, he made his final film, Ozu consistently explored the rhythms and tensions of a country trying to reconcile modern and traditional values, especially as played out in relations between the generations. Though he is best known for his sobering 1953 masterpiece Tokyo Story, the apex of his portrayals of the changing Japanese family, Ozu began his career in the thirties, in a more comedic, though still socially astute, mode, with such films as I Was Born, But . . . and Dragnet Girl. He then gradually mastered the domestic drama during the war years and afterward, employing both physical humor, as in Good Morning, and distilled drama, as in Late Spring, Early Summer, and Floating Weeds. Though Ozu was discovered relatively late in the Western world, his trademark rigorous style—static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects—has been enormously influential among directors seeking a cinema of economy and poetry.