This movie is everything that hollywood isn't. It is a subtle, deep film. There are no dramatic dolly/steady-cam shots. There are no high angle/pan the camera shots. The emotions are all implied by the framing of the scenes and the movement of the characters. In many ways the scenes are like haiku. The economy of the scene is its beauty, the meaning of the scene is a puzzle to be worked out by the viewer.<br /><br />The night-time car drive to the burial by the sea is a sparse study of the power of simple shapes and simple movement. The sumo scene on the beach is an intriguing look into the relationships of the characters in the film.<br /><br />Approaching this film like a John Woo film will not work. To understand this film, approach each scene as a fresh peek into the characters, their thoughts and their emotions. Don't expect anybody to say "I'm pissed" or "I'm sad" or "I'm scared". Do try to *feel* the movie and the characters, not by analyzing, but by immersion. Everything in the film is implied subtly and obliquely. But the effect is convincing and powerful.<br /><br />Of course, to some people all of the above may sound like a pile of horse manure. That's fine, too. To each his own.