There’s a particular strand of cinema that has been quite typical of Japan’s output since at least the 1930s. I’m speaking of observational drama. And by that I mean, the kind that follows a set of characters, usually a family (or extended version thereof).
Typically, we’re provided with no formal introduction and little or no context. But the information is there if one pays attention; the manner of the relationships, the characters’ preoccupations, a hint at their inner lives and so on.
Of course, Japanese culture lends itself well to this kind of thing because it’s much less demonstrative than, say, its American equivalent, where feelings tend to be more readily expressed.
In the case of Suzaku as with many…