At the center of Hirokazu Kore-eda’s Our Little Sister is a house, and in the garden of the house is a plum tree. It is an old tree; generations of the family have seen it blossom and bear fruit, season by season. It is a tree at the heart of a house tradition, too, the making, storing, and consuming of umeshu, a sweet and sour green plum liqueur that is allowed to ripen to perfection over nine months beneath the floorboards. The family members prick their initials into the plums and these sit, soaking, as uniquely individual parts of the collective brew.
A family. A messy, powerful organism and a thing that Kore-eda, over the course of his film career, has continued to explore and expose, its raw bitternesses and its loving tendernesses. In earlier films, like Nobody Knows, heartbreak and tragedy are the centers of feeling; in more recent films, like I Wish, buoyant, infectious hope permeates. Our Little Sister tends towards the warmth of these latter films, and like the joyous, crucial moment of the speeding train in I Wish, there is a similarly ebullient defining moment in Our Little Sister, where two children on a bike fly through an avenue of blooming cherries.
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Seattle Screen Scene 