There Was a Father (1942) 33:33, Early Spring (1956) 14:28, Early Spring (1956) 32:42, Early Spring (1956) 59:14, Equinox Flower (1958) 15:07, Late Autumn (1960) 21:27
The Only Son (1936) 24:05, Late Spring (1949) 28:40, Tokyo Story (1953) 51:46, Tokyo Story (1953) 2:12:03, Early Spring (1956) 51:56, Good Morning (1959) 20:48, Good Morning (1959) 22:45, An Autumn Afternoon (1962) 50:27
Passing Fancy (1933) 1:26:05, The Only Son (1936) 48:21, Tokyo Story (1953) 1:41:47, Tokyo Twilight (1957) 1:55:06, Floating Weeds (1959) 1:04:58, Good Morning (1959) 1:23:02, Good Morning (1959) 1:23:07, An Autumn Afternoon (1962) 1:47:06
Passing Fancy (1933) 12:03, A Story of Floating Weeds (1934) 2:15, Tokyo Twilight (1957) 2:00:12, Equinox Flower (1958) 27:26, Floating Weeds (1959) 1:38:46, Late Autumn (1960) 33:06, The End of Summer (1961) 19:59, The End of Summer (1961) 58:22
The Only Son (1936) 42:49, Floating Weeds (1959) 1:55
A certain pattern of shots is repeatable within an Ozu paragraph, a certain pattern of Ozu paragraphs is repeatable within an Ozu film, and a certain number of Ozu films are repeatable within an Ozu career.
Early Spring (1956) 17:13, Tokyo Twilight (1957) 51:29, Equinox Flower (1958) 7:49, Equinox Flower (1958) 56:13, Good Morning (1959) 36:22, Late Autumn (1960) 39:31, An Autumn Afternoon (1962) 1:44:48, An Autumn Afternoon (1962) 1:47:15
The Only Son (1936) 24:05, Early Spring (1956) 12:12, Good Morning (1959) 22:45, Late Autumn (1960) 1:26:51, The End of Summer (1961) 11:17, An Autumn Afternoon (1962) 51:27
Early Spring (1956) 1:06:09, Tokyo Twilight (1957) 2:17:09, Floating Weeds (1959) 20:20, The End of Summer (1961) 1:00:57
Passing Fancy (1933) 00:12, A Story of Floating Weeds (1934) 46:46, The Only Son (1936) 1:09:20, There Was A Father (1942) 1:15:40, Tokyo Story (1953) 1:31:01, Early Spring (1956) 59:19, Equinox Flower (1958) 1:55:52, Good Morning (1959) 1:33:44
Tokyo Story (1953) 1:10:56, Early Spring (1956) 2:14:03
The Only Son (1936), 44:29
Ozu cared a great deal about visual style and made up the picture in his head before a shoot. Since composition was his foremost consideration, performances were required to fit into his compositional scheme.
Floating Weeds (1959), 1:04:58
Late Spring (1949), 1:45:56
An Autumn Afternoon (1962), 50:27
Tokyo Story (1953), 2:12:03