 Ebert writes that , as with other Japanese films such as Tokyo Story ( Yasujirō Ozu ; 1953 ) and The Funeral ( Juzo Itami ; 1984 ) , Departures focuses on the effect of death on the survivors ; the afterlife is not given much discussion . He considered this indicative of a " deep and unsensational acceptance of death " in Japanese culture , one which is to be met not with extreme sorrow , but with contemplation . Takita stated that he intended to focus on the " dialogue between people who have passed away and the families that survive them " . The film touches on the question of the afterlife : the cremator likens death to " a gateway " , and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides . 
