Maru

OW is set in the suburban home of the Suzuki family, which includes a middle-aged father hiding his recent unemployment, an adult son never employed to begin with and correspondingly given to sleeping late, a grandmother nearing dementia, and a mother who’s growing quietly exhausted minding the family’s daily clockwork machinations. In short, this family a typical middle-class clan, in an era in which such a status is ever more difficult to maintain.
Suzuki Yohei impressively establishes a latticework of domestic pain, fear, disappointment, and shame in a manner of minutes. The result is a prickly humanism that especially serves OW when it veers into allegorical sci-fi terrain: A gray orb slightly larger than a basketball hovers into one of the rooms of the Suzuki home’s top floor. (Chuck Bowen)
“My father used to act in amateur theater productions while working for a company and he loved movies. The first movie I ever saw was 2001: A SPACE ODYSSEY. I used to pretend that a wall in our house was the monolith and touched it every day. Maybe I started making films when I grew up because I was influenced by my family and cursed by the monolith.” (Suzuki Yohei)

 In the presence of Suzuki Yohei.