I gave it a 7.5 out of 10

I saw this movie before reading any reviews, and I thought it was very funny. I was very surprised to see the overwhelmingly negative reviews this film received from critics.

It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

There are directors who write their own original stories/scripts and directors who bring to the screen works of novelists, playwrights, and even biographers and historians. The directors who develop their own scripts are not just good filmmakers but arguably potential novelists or playwrights.One such formidable director is Japan's Naomi Kawase. Her films win awards at prestigious film festivals following which the director churns out well received novels in Japanese based on her original film-scripts. Today, like Kawase, there are exciting filmmakers such as Mexico's Carlos Reygadas and Spain's Alejandro Amenabar (The others) and Pedro Almodovar (Talk to her) who need to be appreciated as a breed apart from the regular directors who prefer to ride on the shoulders of other worthies.Kawase's Mourning Forest, won the Grand Prize at the 2007 Cannes film festival. Many Western critics missed out on the loaded Asian/Japanese cultural subtexts in this remarkable film and even expressed surprise that it won the honor. After viewing the film at the recent 12th International Film Festival of Kerala, I applaud the Cannes jury's verdict.Mourning Forest (Mogari no mori) is a film that centers around a 70-year-old man with senile dementia (Alzheimer's disease?) living in an old age home in Japan—somewhat similar to Sarah Polley's Canadian film Away from Home. However, the two films approach the problem from totally different perspectives—underlining the cultural divide between Western and Eastern sensibilities. In both films, young people admire the values of the older generation. Both films are indirectly family films—underlining undying love for spouses. That's where the similarities end.Mourning Forest is a sensitive film tracing a senile old man's quixotic pilgrimage to his wife's grave in a forest interlocking a mystical relationship with nature. An old man with depleting memory is cared for by a young woman Machiko, a new nursing recruit, at the retirement/old age home. But her name, which has similar syllables to the name of his wife Mako, who died 33 years before, triggers a passion in him to visit her grave in a forest.On the 33rd anniversary, according to Japanese Buddhist beliefs, the departed must travel to the land of Buddha—somewhat like the Roman Catholic Christian belief of the dead reaching heaven /hell after a stay in purgatory. The time has come for the couple to part forever unless he bids farewell soon before the anniversary.Mourning Forest can be divided into two parts.The first part introduces the viewer to the two main characters--the nurse and the nursed. Both have suffered personal loss and are grieving—the nurse has lost a child for which her husband holds her responsible; the nursed has lost his wife and evidently never remarried and keeps writing letters to his dead wife that must be "delivered." The nurse dominates the first part. We view the two figures chasing each other between rows of tea bushes, their heads clearly visible over the verdant green landscape. There is warmth of the sun. There is an allusion to life.The second part inverses the situation. The nursed dominates the nurse. The nursed tricks the smart young woman as he trudges to his wife's grave. Whether the spot is really her grave or not is of little consequence—the act of undertaking the pilgrimage is of consequence as he has to deliver his letters to his wife before 33 years of her death are completed. The forest covers the human figures. There is cold, darkness and mystical overflowing streams that threaten hypothermia. There are definite allusions to death and regeneration. In an interview to a news agency, Kawase said "After the two enter the forest, the forest becomes the force that supports them. It watches over the two of them, sometimes gently, sometimes more strictly." The films title roughly translates to "Forest of Mogari" and at the end of the film the director states the meaning of the term "mogari." Mogari means "the time or act of mourning." Unlike "Away from Her", "Mourning forest" is a film on understanding the richer complexities of life and death. "Running water never returns to its source," says the old man Shigeki to his nurse, words of solace for a young woman to look afresh at her marriage after losing a child. "If sad things happen, you shouldn't be sad about them or fight them, but vow to make the world a better place for children still to be born. That's my message," Kawase told the Reuters news agency At the Cannes festival, director Kawase said she made Mourning Forest because "her grandmother was becoming slightly senile, and today such people are looked down upon somewhat, and pitied, forgetting that it could happen to us someday." Kawase said she hoped viewers would learn kindness and a new way of handling difficulties -- which she said could help people around the world overcome religious and cultural differences. The nurse strips off her clothes to provide warmth to her ward and protect him from hypothermia—an action that would seem unusual to Western sensibilities. There is no sex here; mere practical help in time of need. There are streams that suddenly flood as if they have a life of their own and emerge as a silent character in the film.There is one Japanese film that is somewhat similar in spirit and content—the 1983 Cannes Golden Palm winner Shohei Imamura's "Ballad of Narayama", where an active and useful old woman is forced to make a last trip up a mountain to fulfill local traditions and her consequent interactions with younger generations in the village. While Imamura used a famous novel to build a film classic, young Kawase has made a rich film using her own story. Kawase is treading in the footsteps of directors Terrence Mallick, Reygadas and Tarkovsky when the forest itself is transformed into a metaphor of memories and traditions, becoming a source of eternal strength. Kawase represents the finest in contemporary Japanese cinema blending nature and tradition in storytelling.

It's all about grief here and finding back to joy in your life. Our main characters Machiko and Shigeki share something: They both lost someone they loved. "Am I still alive?" is one of the questions Shigeki asks at the beginning. Their relationship, or better, their friendship is going to give the answer to Shigeki's question. The Japanese director Kawese Naomi repeatedly uses long shots of trees or rice fields moved by wind. Maybe this observation of the nature should remind the viewer that this is how life is. Everybody will lose somebody in a lifetime, but nature carries on and so do we. Kawese doesn't use a plot as a drive for his movie, he uses a mixed atmosphere between sadness and joy, between loving and hating. Very important in "Mogari no mori" is also the sound track, that is dominated by sounds directly from nature. I had an exhausting day when watching the film, and it was hard for me to get lost in these pictures. I am interested how it works on a second viewing.

The attraction of indie to me is the feeling of "living" and quietness, the subtle human sentiments and emotions reeked from the ordinary stories in normal daily living. Mega-multi-million productions are stunning in many ways but they are too "drama", not living. We need indie as antidote.Since the 1990s, the world movie industry doesn't seem to produce many female directors and how happy we have Kawase, whose works mostly shot with Nara as backdrop. In the peaceful quietness, she is able to capture the meticulous subtlety of human touch and warmth.Young Machiko and old Shigeki are both bereaved with great sadness. One day they have an outing in the countryside and bad weather suddenly comes. Their journey is journey of healing as Shigeki is looking for the burial location of his wife Mako who passed away 33 years old. He wants to return to her as a means to cease his mourning. To me, the most touching episode is when they wade through the small brook which is suddenly flooded by rain water. The long-silent Shigeki, just like the abrupt influx rain-water, suddenly tells Machiko that the running water will not return to its source. It is a condolence and advice to this young woman whose baby has died: let bygones be bygones, people died, they died without any return. The speedy running brook and her fast running tears are important symbols of healing: they wash away her pain.The natural beauty of Nara is exhibited superbly with the actors' natural performance. By the way, it is the very first appearance of the 61-year-old amateur Shigeki Uda. Naomi Kawase just got to know him for very short time somewhere at her hometown while she was preparing for the shooting.

Saying honestly, when the movie ended, I felt tricked. As the two people stray off into the woods, I felt anxious on how they are rescued; felt anxious with Machiko, who without thinking follows Shigeki, an old man with dementia; and I thought 'Hey when you get lost in mountains, you should even go up to the summit…'. But actually the director is indifferent on such thrills. She expected the audiences to focus on the imagined scenery of the dementia patient and the care giver. That was why I felt tricked. Though not explained clearly, the reason why Machiko came to the care house, which is a renovated old farmer's house in mountainous village, might be a death of her son. Her husband blames her that if she did not loose her clutch of her son the son would have not died. One day when they had calligraphic exercise, Machiko wrote her name. Accidentally this made Shigeki recall his wife's name Mako. Mako died 33 years ago. Since then Shigeki lived in memory of Mako for very long years. Since then, mental connection between Machiko and Shigeki gradually grows.One day, Machiko takes Shigeki to visit Mako's tomb by car, but the car runs off on the way. It is so remote that mobile phone does not work to call for help. But from the place, Shigeki walks into the woods heading 'Mako's tomb', and Machiko has no idea but to follow him. Since then many things happen. At night, Shigeki feels chilly due to fatigue and coldness; Mako warms him naked. The next morning, Shigeki is going across dangerous river; Mako imagines it suddenly floods, and cries and cries until Shigeki comes back. This recalled me 'Sanzu no kawa', an imaginary river that separates the world of quick and the dead. Finally, Shigeki arrives at the destination; he pulls out notebooks he wrote for 33 years, perhaps filled by the memories of Mako; and he digs a hole by hand; then he peacefully sleeps in it. Besides him, Machiko feels healed from all of her past troubles. The motif in the movie is heavy: care-giving, death of child, death of wife, and burial. As my mother is in Alzheimer disease, I had strong empathy on Shigeki. I think many of the audiences have these kinds of experiences. The message from the movie is, as I received, to have real feeling of life and healing, beyond getting old and death. This attempt is, however, not very successful, because, as I wrote in the beginning, the audiences may feel tricked at the end.