While watching Naoko Ogigami’s Close-Knit, I often remarked to myself, “The camera is always at the right distance! Every Time!” like an idiot. But it is this observation that best captures the appeal of Ogigami’s cinema. She is not fashionable or current or modern in ways that are obvious. Indeed, her concepts and sensibility are probably downright corny. But she has judgment, and her gaze is always a respectful one. Thus her camera is always at a careful distance, marveling at the nature of her characters and accepting them for who they are. Hers is a welcoming vision, perhaps most ably realized in her masterpiece Kamome Diner (2006), where all sorts of people are brought into the fold of the narrative, their tastes, mannerisms and behavior given their place. The same applies for her latest feature, Close-Knit.
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