若在现在苛刻的评论家眼中,小津战后的导演生涯,简直可以用“毫无突破”来形容。他热衷于反复拍摄同一个题材的作品,视角永远局限于战后日本的普通家庭,很少有外景,基本上所有的故事都发生在十叠大小的空间里。所试图展现的主题也大致统一,即描写传统的家族制度和家庭观念是如伺在崭新的时代中显得不合时宜,进而走向分崩离析的。他甚至不在意自己重复自己,光是“送嫁”这一个题材的 If, in the eyes of critics now harsh, the director career of Ozu after the war can be described as “no breakthrough”. He is passionate about filming the same subject repeatedly. His perspective is limited to ordinary families in post-war Japan. There are few exteriors and basically all of the stories take place in a dozen or so spaces. The themes sought to be broadly unified are also that the description of the traditional family system and family values ​​is out of accord with the times in the new era, and then falls apart. He even did not mind repeating himself, just “sending” this one theme