I don't know much about Yasujiro Ozu, but I recently bought two Criterion Collection editions of two later films of his, "Tokyo Story" and "Autumn Afternoon". I had thought I had seen them, but, as it turned out, I hadn't. Ozu was fascinated by Hollywood films and much of his early product seems to be heavily influenced by them. But, as the years went on and he grew as an artist, he began to write and direct these extraordinary films like "Tokyo Story" and "Autumn Afternoon". They are, in my opinion, at least, extremely "Chekovian" in tone - they're blessed with both simplicity and delicacy and suggest "so much" under the surface. Ozu's camera is always set at a low angle, as if you were sitting on the floor with the characters, who are often sitting on the floor. His camera doesn't move - although he does edit from medium-shots to close-ups within a scene. Often, at the end of a sequence, he will "locate" the action in its environment - a series of static shots of the immediate area. Rather than seeming intrusive, these shots take on an emotional flavor - of whatever sequence you were just watching. The direction is quite rigorous - the actors are extremely "civilized" in their behavior - and, if anyone of them breaks down, he or she will cover it somehow. "Tokyo Story" is about an aging couple who go to Tokyo to visit three of their children and one daughter-in-law, who was married to a son who died. "Autumn Afternoon" is about a lot of people who are involved in one elderly man's decision to marry his daughter off. Ozu is considered the most Japanese of Japan's directors and he died at an early age, 60. I only wish that I knew more about him and had seen more of his later, famous films.