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“... associate with locations from Dracula, or Goodfellas. But we can’t inhabit the films of Yasujiro Ozu, and we can’t find his world in ours. This is not because the films don’t create worlds, or because we can’t understand or sympathise with what goes on in them. It is because Ozu so scrupulously and adamantly situates ...”

“... What does​ a wedding look like in an Ozu film? Two large hired cars outside an anonymous block of flats. Inside the building, father and elder brother in sleek Western morning suits, younger brother in smart but more casual clothes. Sister-in-law very tidy in black traditional Japanese dress. Bride cloaked in a mountainous confection of pink and white silk, topped by a hat that looks like a small but heavy monument ...”

“... news reports for the main Japanese propaganda bureau in the Cathay Building. A few floors down, Yasujirō Ozu, freshly arrived in Singapore, produced propaganda about the Indian National Army’s fight against the British Empire. ‘The three and a half years of Japanese occupation were the most important of my life,’ Lee wrote in his memoirs. He ...”