Floating Weeds

Yasujiro Ozu - 1959
Ozu, for all the reflection, doesn't cut too slowly. He can pretty much be said to analyse, whatever that means.
It is the clearest thing I can think to say about Ozu that his is a cinema of space. We have pure fun in the shapes, of the whole frame and of objects. The colours of windows, the way something obscures a part of the frame. Often quite a lot of depth, where we particularly focus on the people. Space is not used for narrative purposes; we can have a position, can cut to a position, for the shape of the space it gives, rather than clearing narrative purpose.
Does Ozu establish? Yes and no. Place to a small extent, more of a mood.
Ozu, as I said, does move in. There is quite a lot of SRS, intersting ones. Often with their backs to us, facing a wall. Often at a slight angle. And then that straight on one. Ozu's camera is without exception low-angled, so I'm not sure they don't look above.
The underplaying, reticencce, gives a huge emotional complexity, as simply does the plot, We enter the world, see thne connections, the changes reverberate so strongly. A slight fatalism? Perhaps. Resigation? Ozu can do something so remarkable with the emotions in the second halves of his film.