Beautiful cinematography, but extremely slow with many long shots that seemed to go on and on. Many reviews say the main character was happy and in love with her 2nd husband, but I don't agree. She cared for that man, but was not in love with him, and not reconciled with her 1st first husband's suicide (if it was such) even at the end of the film.

Promising premise, but nothing really happens, not even any real drama. It's just a series of subdued and at times bleak set pieces that don't really go anywhere.

The delicacy with which Kore-eda approaches the theme of mourning is masterful. The depth that "Maboroshi" reaches with its natural simplicity is an exemplary proof of the talent and sensitivity of an author who from then on will be considered "the modern Ozu". From Ozu, in fact, he inherits the de-dramatization structure and the narrative ellipsis; but Kore-eda is also influenced by the approach to cinema of the Taiwanese Nouvelle Vague, particularly Hou Hsiao-hsien's work and the aesthetics of its intimacy. The protagonists move in the surrounding environment with a light and cautious step, as if suspended in the void, creating a subdued and melancholy ethereal world. The very few close-ups help to keep a discreet and gentle look on the characters who wander in a time and a space that seem to be the border between life and death. A parable about the frailty of time, which is realized, for example, in the allegorical figure of an alarm clock and a light bulb on a table, which is a perfect example of "mono no aware" (物の哀れ), the Japanese aesthetics that enhances the "pathos of things", or rather, the "empathy toward things". The dignified suffering is a muffled scream lost on the open sea.

I saw this movie in 1995 and It was the worst, there's a scene that nothings happens for what it seems to be ages. I love fine cinema, however this movie is just a waste of film.

My favorite movie, I've watched it countless times. I'm a big Ozu and Fellini fan, and consider those two the best- but in Maborosi, Kore Eda matches them. It took years to fully appreciate this film, which goes very deep. This remains the most beautiful film I can think of, some scenes just jaw dropping in beauty and sensitivity. I've seen most of Kore Eda's films, and this, his first, beats them all. Stunning and sensitive, yet a portrait of ordinary life in most ways.

As other reviewers have noted this is a very visual, artistic sort of movie. Not much character development or plot, more like snippets of life. A "tone poem." Beautiful to look at, but ultimately not very engaging. Very art house.

Koreeda's first movie feature outside documentaries and one that put his name on the map. A couple have a child, then the father kills himself. No one knows why. She is grieving until she meets a new man, but she never really manage to shake it off and she seem very affected by her history. She just is, nothing else. Is the new guy the right choice? Does she get the needed support? Are her kid all right? There are many hidden questions here - as the film it self also is hidden. It's very, very slow. Few emotions, few conversations. It reaches the one hour mark befor we see her face without a distance. I have seen quite a few film's from the man. They are alway something special, but I like his newer films way better. This one was too boring with few scenes and while the images are lovely, the score is good and the plot is OK the whole ting fails to grip me and I miss hights or big scenes. I may hve picked the wrong night, but this is my least favorite from the man. It's like he kind of needed to makes this film to become the great director that he proved himself to be when he entered the millennium, as they all have a peculiar style - even if this one never really stand out as something unique for me. 5 out of 10 crab fishers.

Beautiful cinematography

Has some great Themes and emotive value although sometimes the plot can jump around a bit too much for a complete story

Maborosi recently got a release at the BFI and I was intrigued to check out Koreeda's first scripted feature. While the beauty of Maborosi was not lost on me, I feel it was a bit too slow even for Koreeda. At times it felt almost ponderous and lacking in narrative. This is obviously a stylistic choice but it took me out of it slightly. Having said that it's beautifully shot and tender but harsh and true when it needs to be. I feel like I'll have to come back to this film when i'm a bit older and have more life experience to truly be able to appreciate it but I do realise the film is clearly one of quality.

Stunningly beautiful cinematography and a good soundtrack can't disguise the fact that the pacing is non-existent and there is not enough of a story here to make a good film.

I am glad "Maborosi" wasn't my first Hirokazu Koreeda film, because watching his masterpieces first, put me in a better mood to understand his first work and I kind of knew what to expect and what to look out for. The elements of his style are already here, but this for me was more difficult to watch mostly because of its slow pace. Also the circle does not close so well like it does in all the other I watched. I am still very glad to have seen it and I will finish his filmography no matter what. as Koreeda probably entered in the top 5 of my favorite directors.

Filmed utilizing only natural light, but conforming to clearly well thought out visual framing -- Hirokazu Koreeda unfolds this story in the most unusual of ways. The movie feels as if it might be an early spin on what we came to call "Mumblecore" into the 00's. However the sense of the casual and the improvised is anything but. "Maborosi" is a carefully crafted work of film art that lulls the viewer into a woman's internal quest to understand two tragic events in her life. In some ways the film operates as a mystery grounded in sadness. It is impossible not to relate to this film on an emotional level. It may start as a challenging movie, but it quickly reveals itself to be an engrossing experience.

??????????????????????????????????????????????????????

only one and perfect movie

This dreary melancholy sucks you into the lives of the films characters. Hirokazu's depiction of death and mourning is always fresh and Maborosi is no exception.

We are always kept at a distance from the characters, perhaps because we are encouraged to think independently, using only hints from the movie, about what the "Maboroshi no hikari" is.

nothing is overdone. beautifully crafted.

Reflexive film, one of the firsts of Koreeda, the plot is one of the recurrent themes in the work of this filmmaker, the grief and how the people handle this. Now, the long takes immerse you in the mind of Yumiko, who can´t forget er late husband's death, but at the same time left you away. In some moments you can hardly distinguish what is happening, you heard the words but the camera is really far away to know the gesture or even the movements.This make us feel as isolated as Yumiko, and thanks to that we can be emphatic to her.

Splendid. This films shows only what it is necessary for the audience to see. The use of natural lighting is such a great way to express each emotional stage of Yumiko as she slowly overcomes the death of her ex-husband. Wordless.