Ozu's first film in colour, and he uses it sparingly. Subdued dress sense and domestic interiors are set against splashes of significant red (look out for the kettle!), representing the amaryllis which blooms around the autumn equinox - the perfect image for a film about transition. Saburi's the father fretting over the marriage of eldest daughter Arima, who's fallen in love and become engaged without involving her dad in the decision. In many ways, he's a figure caught between Japanese traditionalism and liberalising western influence, since he's perfectly happy to advise other people's children to find their own way in life. It's an irony not lost on the director, who marshals the progress towards harmonious resolution with his usual mastery. The cut from satisfied spouse Tanaka sitting in her favourite chair to a brightly fluttering washing line is a moment of truly exquisite transcendence.