Tryggvi Kristjánsson’s review published on Letterboxd :
I was going to write a review on Tokyo Story but I might as well do it here.
Family, generations, marriage, urban life. Always the same themes in the director's later years. That camera angle from the tatami mat, and the camera never moves. The placing of the camera in the middle of conversations to face the one talking, or completely out of them. The framing, the trasitional shots, the understated acting.
Ozu lived with his mother all his life. Obviously, he was was preoccupied with the breakdown (or change) of the traditional Japanese family and it's values. So that is where his stories take place. Its the way he tell the story that is fascinating to me. Everything is understated, the camerawork, the settings, the characters, the action. People almost never touch, nobody raises their voice. There is no need. It needs not be said, we can feel it.
I feel unworthy of waxing lyrical about Ozu so I might stop now. I fear I cannot do him justice. But its fair to say I like him, and his red teapot.