Watching almost any Ozu film is much like viewing a painting by Vermeer: within a rigorously formal composition of figures in space, nothing much happens, but every detail is meticulously observed and a nuance-loaded atmosphere created. Ozu stated, "I was interested in getting much deeper than just the story itself; I wanted to depict the cycles of life, the transience of life....Consequently, I didn't force the action, but tried to leave some spaces unfilled...leave viewers with a pleasant aftertaste." The "aftertaste" is a bit sad, however, as a daughter marries, a family dissolves, leaving parents alone to contemplate their life and their hopes for the children. This is the everyday stuff of life, distilled, immortalized, sounding the depths of our hearts. As Kathleen Sherrill wrote for PFA, "Ozu's films are what they are, the cinema of the ineffable, celebrating and solemnizing every single conciliatory gesture with which individuals negotiate their lots in life."