A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

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In a world torn apart, silence speaks louder than words. A fleeting moment of birth challenges the noise of war.

Andre inherits a small fortune, which pushes him into a series of surreal and aimless encounters with eccentric strangers.

A boy lost in grief finds himself trapped in the quiet chaos of his own mind, seeking refuge and release through art and music.

A single mother. Her marriage ring. Her routine.

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With his best friend Luca away at school, Alberto is enjoying his new life in Portorosso working alongside Massimo—the imposing, tattooed, one-armed fisherman of few words—who's quite possibly the coolest human in the entire world as far as Alberto is concerned. He wants more than anything to impress his mentor, but it's easier said than done.

Trapped in the swirling thoughts of a late night shift, a restaurant worker receives a cryptic phone call, guiding her to a refuge from the noise.

Sonya, an old maid, is about to give up on herself until, one day, she meets a corpse in her family's embalming business that changes her life.