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Flowers (2010)

Not Rated | | Drama | 12 June 2010 (Japan)
A story of six women from three different generations, each living their own journeys in their respective periods, spanning decades of dramatic changes in Japan from the 1930s to the present.


Norihiro Koizumi


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Credited cast:
Yû Aoi ... Rin
Kyôka Suzuki Kyôka Suzuki ... Kana
Yûko Takeuchi ... Kaoru
Rena Tanaka ... Midori
Yukie Nakama Yukie Nakama ... Sato
Ryôko Hirosue ... Kei
Rest of cast listed alphabetically:
Mitsuru Hirata Mitsuru Hirata ... Haruo Miyazawa (2009)
Ryôka Ihara Ryôka Ihara
Yoshihiko Inohara Yoshihiko Inohara ... Haruo Miyazawa (1977)
Jun'ichi Kômoto Jun'ichi Kômoto ... Kikuchi
Kyôko Maya Kyôko Maya ... Rin's mother
Takahiro Miura ... Rin's husband
Hiroyuki Nagato Hiroyuki Nagato ... Endo
Takao Ohsawa ... Kaoru's husband
Sansei Shiomi Sansei Shiomi ... Rin's father


A story of six women from three different generations. In the 1930s, Rin is worried about her arranged marriage that her parents set up. Rin has three daughters: Kaoru - who tragically loses her husband in a car accident, Midori - a career woman who becomes shaken by a marriage proposal, and youngest child Sato. In the 1960s, Sato gives birth to Kana and Kei. In the present day, Kana is worried about becoming a single mother. Written by Anonymous

Plot Summary | Plot Synopsis




Not Rated | See all certifications »


Official Sites:

Official site [Japan]





Release Date:

12 June 2010 (Japan) See more »

Also Known As:

花戀物語:新世紀佳人 See more »


Box Office

Cumulative Worldwide Gross:

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Company Credits

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Technical Specs

Sound Mix:

Dolby Digital
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User Reviews

If you can repress your feminist instinct and whip out some Kleenex, you might enjoy the feel good stories on family
28 October 2010 | by moviexclusiveSee all my reviews

A combined effort of male director Norihiro Koizumi and male ad-agency creative director Takuya Onuki (he conceived the film's idea while working on a female shampoo commercial), it is not hard for the thinking girl to dismiss Flowers as an indulgent and idealistic patriarchal take on Japanese femininity. The title itself – a stereotypical image associated with being female. It does not help either that the problems that the six women face are either related to men or motherhood. From a forced marriage to fatal pregnancy complications to the loss of the newly wedded husband, tragic events not out of place in a soap opera plot seem to curse three generations of beautiful women. Through soft lingering gazes into the windy distance and solo teardrops on SK II-treated cheeks, they express minimal pain like ideal, perfectly restrained, silent Japanese women.

Now girls, (depending on which feminist wave you are riding on) before you start burning or pushing up your bras and objecting to the lack of girl power, do consider that the film's subscription to feminine stereotypes is intended to portray the significance of family over self. The real struggle that the six women face is not of tragedy, but with choosing between self-expression and self-control or individualism and collectivism – something everyone can relate to. By portraying six different yet interconnected lives all choosing the self-sacrificing route and going back to the family as a point of healing, the film really tries to remind us of the importance of kinship. The story of Rin – the family's first generation woman – is particularly touching in its conclusion. Set in the 30s, she is faced with the traditional arranged marriage dilemma – please her father or please her self? You have to watch for yourself how she decides, but do prepare Kleenex at hand. In fact, that tissue paper is necessary in a few other scenes as well even though the film is not really a tearjerker. What Flowers considerably is, is a heartwarming chick flick, albeit a quite welcoming one in a genre filled with the same old storyline of predictable heroines finding love and living happily ever after. Its message of family is something to ponder upon. The film might go too much by telling six different stories to drive home the point, but maybe this is something we need to counter excessive individualism in today's Facebook-obsessed society.

The montage quality of the film is easily appealing; as it not only allows the audience to make distinct three generations of characters, but to also let them enjoy the homage to past filming styles. As the film spans among four time periods – 1930s, 1960s, 1970s and early 2000s – each of them is directed according to the film style of the respective eras. The 1960s story of one of Rin's daughters – Midori – is probably the most enjoyable with its throwback to a comical retro sound stage vibe and vintage clothes.

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