Journey to the Shore

Mizuki’s husband Yusuke went missing for 3 years. He suddenly comes back home one day and asks Mizuki to go on a trip with him. Their trip consists of visiting the people that helped Yusuke on his previous travel. While travelling together, Misuki sees, touches and feels what Yusuke did for those 3 years.


Add a review


See more films


  • ★★★½ review by Keaton B on Letterboxd

    Wasn't Kurosawa supposed to be a horror directer...? Maybe I haven't seen the right films. Actually, this is only my third one.

    There are some eerie moments in the film, and there's an undercurrent of darkness, but I wouldn't classify this as horror.

    It's more like a metaphysical love story about loss and communication, at times touching but at other times rather banal. It definitely kept my interest though. But maybe since I was expecting something like a genre horror film, it surprised me a little.

    I should come back to this one after watching some other Kurosawa films.

  • ★★★★★ review by Mike Thorn on Letterboxd

    Kurosawa's craft is note-by-note perfect; the film crept up on me and took hold before I could even register what it was doing.

  • ★★★★★ review by Diogo Vale on Letterboxd

    Despite the similarities to his fellow countryman Koreeda's films, the film that Kurosawa's latest reminded me the most of was Manoel de Oliveira's O Estranho Caso de Angélica. Both films and both films' characters seem to be looking for something - the meaning of life, the meaning of death or some other form existential understanding. de Oliveira was at a much different point of his carrer and life when he made Angélica to where Kurosawa is right now, but in both cases, it seems appropriate: Manoel de Oliveira was at a very advanced age when he made his penultimate feature and death was looming over him constantly (it should come as no surprise that that film also serves as an epitaph of sorts, written by the director himself), while Kiyoshi Kurosawa (and I say this not being by any means an expert on the filmmaker's oeuvre) seems to be reinventing himself since Tokyo Sonata, looking for something more. When you translate cinema into life, then it makes sense that that "more" he's looking for has something to do with death, the afterlife, the metaphysical.

    The approach the two director's adopted in their quests is something of a "back to basics" nature - de Oliveira makes gorgeous references to mute cinema, Kurosawa, being a director much involved in the plastic nature of cinema, in the bending of form adopts a more traditional style but very intuitive as well, it seems. The natural feel of the film people talk about, in my opinion, comes much from this: Kurosawa doesn't really actively try to push the boundaries of cinema, but rather tries to be as blunt as he can, hiding nothing, using simple cause-consequence thinking: music queues are somewhat predictable for they always come at the exact time, a simple solution typical of melodramas to increase the emotional impact; lighting is unashamedly changed mid-shot to convey greater importance to certain elements of the frame and to better suit its content (the plot); camera placement and movement seems equally intuitive, as what appears to be fairly simple, upon closer examination, reveals itself to be profoundly inspired (the same thing happens with O Estranho Caso de Angélica). It reminds of that famous Picasso quote: "It took me four years to paint like Raphael, but a lifetime to paint like a child.". While in Manoel de Oliveira's case it feels like the work of a trained master (maybe because of his attention to detail - despite that apparent simplicity, Angélica still provides a great deal of richness and is almost as baroque as any most other films of the Portuguese auteur), Kurosawa's willingless to keep everything simple render his formal precision the feel of an immensely inspired rookie who somehow gets just about everything right. Journey to the Shore excels in this territory, the paradoxical equilibrium between learned mastery and intuitiveness.

    All this is pretty amazing, but what elevates Journey to the Shore to transcendence is the complexity at work behind it. Often times, the dialogue references the formal aspects of the film, as an advice given by the main female character to a little girl playing piano that tells her to play in her own tempo, "slowly but correctly" (mistake not, Journey to the Shore is borderline Slow/Contemplative Cinema, which led some people to nickname it, unfortunately, "Journey to the Snore"), or many lines praising the beauty of simplicity. Kurosawa dwells on everyday activities as cooking and cleaning with great serenity and Mizuki, after coming out of a public bath (a perfectly normal moment), says that that might be her favourite moment of her entire life. In another scene (reminescent of a similar scene near the end of Angélica where characters discuss science at the dinner table), Yusuke teaches villagers about light and how it is a particle with null mass and the expanding Universe. Meta-text becomes meta-meta-text when these formal elements themselves stand for everything I talked about in previous paragraphs. When Yusuke teaches the villagers the beauty of life, Kurosawa teaches us the simple pleasures of cinema. And when we arrive on the shore, a destination as suitable as any other, beautiful as everywhere else in the world, we magically burn a manuscript to go back home, a home which is never seen. We all arrive at our destination eventually but it doesn't really matter because the journey is what is important. And we don't know what happens afterwards, we don't know what "home" looks like.

  • ★★★★ review by Arthur Tuoto on Letterboxd

    Gosto muito como o Kiyoshi conseguiu fazer um filme solene sem muitas sutilezas, tanto por esse tom edificante mais assumido, como pela naturalidade dos elementos sobrenaturais. As próprias relações cênicas parecem cada vez mais frontais, mais sem cerimônias e sempre muito abertas a intervenções variadas. É como se toda e qualquer metafísica sobrenatural já fizesse naturalmente parte desse mundo, basta virar uma esquina, apagar uma luz, olhar pro lado. A natureza das coisas pode ser mutável mas o canal sempre permanece aberto.

  • ★★★★½ review by Julius Banzon on Letterboxd

    The shaggiest of dog stories. Is there a god? Is there something in nothing? Are we just zeroes in a nascent universe? Well, he's still dead.

    Everything is curiously unrelatable, as if Kurosawa lives among a class of human beings with only artful dead loved one stories, where they've spent their lives thinking theoretically about their trauma rather than actually feeling it. It is a typical symptom of Kurosawa, whose ideas are so rarefied, his depiction of human beings so conceptual rather than self-inhabited, that we don't feel or inhabit his characters and their emotions so much as we continuously ponder them. It's hard to follow Kurosawa's train of thought, as he constantly interrupts moments of revelation, dares himself with new editing techniques, fills every moment with new aesthetic ideas. It's a sign of a New Wave Poetic Pragmatism. It makes Kurosawa's style and narrative irreducible, through a plainspokenness. What is reducible is his unwavering interest in death and life. This film may be his most baffling and meandering film, but I bumped it at least a quarter of a point for being probably the type of film Kurosawa has been wanting to make all along. A non-tightly-controlled product hung together with Sirkian music and a willingness to upset all things and everything.

  • See all reviews