After Life

After Life

Hirokazu Koreeda is a director seemingly preoccupied with death: his films MaborosiHana, and Still Walking all focus on characters dealing with the death of a loved one. After Life is also concerned with death, but Koreeda approaches his subject from a different angle in this film. Whereas his other films showed what happens to the living after someone they know dies, After Life, as its title suggests, imagines what might happen to those who have died.

After Life is set in a kind of halfway house for the dead. In the film, the dead arrive at a school-like building where they will prepare themselves for eternity. When they arrive, the dead are told they have one week to select a memory from their lives in which they will live forever. Once they have selected their memory, the staff of the house work with them to produce a film that will capture their eternal moment. After they leave the house, we learn, everything else about who each person was will fade away, leaving only that singular moment.

The scenes of the varied inhabitants of the halfway house, ranging from a rebellious teenager to a World War Two veteran, recalling their lives feel almost improvised, as if Koreeda were making a documentary of the afterlife. And in a way, he was. Roger Ebert’s review of the film notes that “Some of these people, and some of their memories, are real (we are not told which). Koreeda filmed hundreds of interviews with ordinary people in Japan. The faces on the screen are so alive, the characters seems to be recalling events they really lived through, in a world of simplicity and wonder.”

While the way After Life moves from one character’s memories to the next gives the film an episodic feel, there is more than just a series of individual stories at work. Koreeda slowly reveals poignant connections between the characters in the film, and also what happens to those who are unable, or who refuse, to choose a memory for themselves.

—Tyler Petty, from his blog Faces Unveiled. (2011)

  1. Directed by: Hirokazu Koreeda
  2. Produced by: Masayuki Akieda Shiho Sato Yutaka Shigenobu
  3. Written by: Hirokazu Koreeda
  4. Music by: Yasuhiro Kasamatsu
  5. Cinematography by: Masayoshi Sukita Yutaka Yamazaki
  6. Editing by: Hirokazu Koreeda
  7. Release Date: 1998
  8. Running Time: 119
  9. Language: Japanese

Arts & Faith Lists:

2006 Top 100 — #34

2010 Top 100 — #65

2011 Top 100 — #85

2020 Top 100 — #75

Similar Posts

  • The Mission

    The Mission confronts us with deeply spiritual questions: ·         What are we to make of the fact that the European missionaries often served as the vanguard of colonialism yet also became the staunchest defenders of the colonized against colonial plunder and oppression? ·         To what extent will or should conversion to Christianity change a person, or a whole…

  • The House is Black

    “There are moments when the social world seems more evident in an object or a gesture than in the whole concatenation of our beliefs and institutions.” In this quote, anthropologist David MacDougall encapsulates the ambition of observational cinema with perfect precision. “Through our senses we measure the qualities of our surroundings—the tempo of life, the…

  • I Am Not Your Negro

    In his 14th full-length film, I Am Not Your Negro, Haitian-born director Raoul Peck achieved perfection with a masterful blending of a screenplay by writer and activist James Baldwin, footage old and new, and an eclectic soundtrack that underscores his film’s ideas and contentions.  As a cinematic essay, it is an intellectual and emotional argument so persuasive, it…

  • A Moment of Innocence

    In 1974, Mohsen Makhmalbaf stabbed a young police officer while attempting to steal his gun. Makhmalbaf was only seventeen at the time but had already been actively involved for a number of years in organized resistance to the Shah’s government. He served four-and-a-half years of his sentence before being released in 1979, soon after the…

  • Koyaanisqatsi

    If, as they say, writing about music is like dancing about architecture, then how does one describe a film like Koyaanisqatsi (1983), which has no actors, no dialogue, and no plot, but consists instead of nothing but music and images (some of which, incidentally, do happen to revolve around architecture)? Well, we can begin by looking at…