This article reconsiders Yasujiro Ozu’s
An Autumn Afternoon (1962) as a cinematic “anti-testament”, a final film that eschews resolution, culmination, or closure in favour of subtle continuity, repetition, and quiet disappearance. Situated between the Japanese aesthetic of
mono no aware and Western existential
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This article reconsiders Yasujiro Ozu’s
An Autumn Afternoon (1962) as a cinematic “anti-testament”, a final film that eschews resolution, culmination, or closure in favour of subtle continuity, repetition, and quiet disappearance. Situated between the Japanese aesthetic of
mono no aware and Western existential philosophy, Ozu’s final work embodies an ethics of impermanence and restraint, where cinema becomes a contemplative practice rather than a narrative of finality. Through formal strategies such as the low “tatami shot,” fixed camera, and elliptical editing, the film materialises time as presence, not progression. Drawing on Heidegger’s conception of
aletheia, Cavell’s ethics of acknowledgment, and Tarkovsky’s reflections on haiku, this study argues that Ozu develops a philosophy of parting grounded in repetition, care, and relationality. Rather than a monument to his oeuvre,
An Autumn Afternoon offers a visual ritual of transmission, where the invisible dwells within the visible, and the act of letting go becomes cinema’s most philosophical gesture. In doing so, Ozu dissolves the notion of the cinematic testament, transforming it into a meditative cadence of impermanence.
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