“To me,” Yasujirō Ozu once said, “each thing I produce is a new expression… like a painter who always paints the same rose”—an apt statement from a director who consistently remade his earlier films to infuse updated sentiments into their timeless stories. To that end, Late Autumn is a reimagining of Late Spring (1949), the film that kicked off his creative burst in the 1950s, and was lensed by the same cinematographer who captured his stunning Equinox Flower (1958), Yuharu Atsuta. Selected as Japan’s entry for the 33rd Academy Awards, Late Autumn chronicles modern courtship with Ozu’s signature compassion.