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They’re not meant to be: They’re supposed to be folks like any of us.

By keeping Our Little Sister intimate but unassuming, he’s made yet another film that washes over you, warm and refreshing, and then dissipates just as quickly.

Composer Yoko Kanno’s piano-heavy arrangements lovingly underscore what occurs onscreen, although the music can occasionally tip over into mawkishness.

And those familiar with Kore-eda’s recent films will recognize recurring themes of generational divide and romantic uncertainty.

None of these women are in any sort of immediate peril, but their unspoken desire to adopt Suzu as their own child speaks to unacknowledged longings. Kore-eda won’t say, and boosted by Hirose’s understated performance Our Little Sister keeps Suzu a teasing mystery.

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