Simple in form yet complex in nature. In this exquisite confluence of infinite and infinitesimal, Ozu calmly observes human nature and inevitable erosion of familial relations in rapidly changing world, with restriction, respect, and poignancy; time is his most potent weapon.
Paris is not burning, Paris Has Burned. We should be watching to celebrate and learn about the harsh realities of the ’80s ballroom scene, but we should also be aware of the exploitation involved in its representation.