5.9/10
Senior Film Conservator
A definitive 5.9/10 rating for a film that redefined the boundaries of cult cinema. Until the Day We Meet Again remains a cornerstone of transgressive art.
If you have the patience for black-and-white dramas that move at the speed of a snail crawling across a tatami mat, you’ll find something to hold onto here. If you need a plot that actually goes somewhere in the first hour, stay away. This is for people who like to watch people sit in rooms and look sad at teacups. 🍵
It’s definitely not for the popcorn crowd. Honestly, even I caught myself checking my watch when the camera hung on a sliding door for just a second too long.
There’s this specific kind of melancholy in Until the Day We Meet Again that feels very lived-in. It isn't loud about its drama. You have to lean in to catch the way an eyebrow twitches or how someone puts down a bowl.
Yoshiko Okada is doing some heavy lifting here. She carries a lot of the movie just by standing in doorways, looking like she’s already halfway out of the house. It reminded me a bit of the quiet despair you find in The Manxman, though the tone is totally different.
Sometimes, the movie just stops. Like it forgot it was supposed to have a narrative arc and just decided to hang out in the hallway for a while. I didn't hate it, but it’s definitely not standard storytelling.
It’s not as snappy as The Burglar, that’s for sure. But it has a soul. A very tired, very traditional soul.
I don't know if I'd watch it twice. It’s one of those films that leaves a mark, but a faint one. It’s like a bruise you don't remember getting until you press on it the next day. 🌫️
Don't go in expecting fireworks. Just expect a lot of silence and a fair amount of staring into the middle distance. Sometimes, that’s enough.
