Yasujiro Ozu

His restrained style is a true expression of the Japanese aesthetic concept of mono no aware (“sensitivity to things” / “the pathos of things”). The conflict between generations and the struggle for a Japanese identity between it’s tradition and western values are themes in most of his films.

Some masterpieces: I Was Born, But… (Umarete Wa mita keredo…; 1932), Late Spring (Banshun; 1949), Tokyo Story (Tokyo Monogatari; 1953), Floating Weeds (Ukigusa; 1959), Late Autumn (Akibiyori; 1960), End Of Summer (Kohayagawa-ke no Aki; 1961).