In 1959, Yasujiro Ozu remade his 1934 silent classic A Story of Floating Weeds in color with celebrated cinematographer Kazuo Miyagawa. Setting his later version in a seaside location, Ozu otherwise preserves the details of his elegantly simple plot wherein an aging actor returns to a small town with his troupe and reunites with his former lover and their son, a scenario that enrages his current mistress and results in heartbreak for all. Together, the films offer a unique glimpse into the evolution of one of cinema's greatest directors. A Story of Floating Weeds finds Ozu in the midst of developing his mode of expression; Floating Weeds reveals his distinct style at its pinnacle. In each, the director captures the joy and sadness of everyday life.

A Story of Floating Weeds Rich in backstage atmosphere and class-conscious insight, A Story of Floating Weeds was one of Yasujiro Ozu’s final silent films, and it displays his complete mastery of the form. With a vivid sense of character and the world of rural Japan, he sketches a poignant tale of family secrets, jealousy, and creative community, buoyed by grace notes of humanist observation and by luminous black-and-white cinematography that shows his spare yet lyrical visuals at their most soulful.

Floating Weeds One of six sublime color masterworks that Yasujiro Ozu produced late in his career, the director’s second filming of his own 1934 silent triumph A Story of Floating Weeds represents the mature flowering of his style. Harnessing the full expressive potential of color, sound, music, and his exquisite compositional sense, he brings new depths of bittersweet feeling—tinged with an aging artist’s melancholic nostalgia—as well as a new air of expansiveness, to a story with enduring resonance.