Maborosi(幻の光)

Variety by David Stratton

This visually lush but sometimes ponderously slowfilm is a poetic saga of love and loss.

San Francisco Chronicle by Edward Guthmann

Kore-eda weaves these images and others, building a multilayered fugue that contemplates death, asks if mourning ever truly ends and addresses the ephemeral nature of love, family and home. Everything we value and use to define and frame our lives, he suggests, is always at risk.

ReelViews by James Berardinelli

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

Austin Chronicle by Marc Savlov

The concept of loss, and the sorrow that shadows it, is not what you'd call an uncommon theme in films, but rarely is it handled with such uncommon eloquence as it is in Maborosi.

Chicago Sun-Times by Roger Ebert

Maborosi is one of those valuable films where you have to actively place yourself in the character's mind. There are times when we do not know what she is thinking, but we are inspired with an active sympathy. We want to understand. Well, so does she.

The A.V. Club by Scott Tobias

The 33-year-old Koreeda, who began his career in documentary, has a gift for observing life as it's lived, accumulating simple, seemingly banal scenes into an unforgettable reflection on the frustration and helplessness of trying to explain the ineffable.

The New York Times by Stephen Holden

A pictorial tone poem of astonishing visual intensity and emotional depth.