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			{{Short description|2008 film}}
	{{for|films titled ''Departure''|Departure (disambiguation)}}
			{{Redirect|Okuribito|the song by Ai|Okuribito (song)|other similarly titled films|Departure (disambiguation)#Films}}
	{{Use Canadian English|date=June 2014}}
			{{Featured article}}
	{{Use dmy dates|date=June 2014}}
			{{Use Canadian English|date=July 2014}}
			{{Use dmy dates|date=August 2019}}
			{{Use shortened footnotes|date=October 2022}}
	{{Infobox film		{{Infobox film
	| name = Departures		| name = Departures
	| image = Okuribito (2008).jpg{{!}}225px		| image = Okuribito (2008).jpg{{!}}225px
	| alt =		| alt = Theatrical release poster
	| caption = Japanese release poster		| caption = Theatrical release poster
	| director = ]		| director = ]
	| producer =		| producer = Yasuhiro Mase<br />Toshiaki Nakazawa
			| writer = ]
	{{plain list|
			| starring = {{plainlist|
	*Yasuhiro Mase (executive producer)
	*Toshiaki Nakazawa (producer)
	}}
	| writer = Kundō Koyama
	| starring = {{plain list|
	*]		*]
	*]		*]
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	| cinematography = Takeshi Hamada		| cinematography = Takeshi Hamada
	| editing = Akimasa Kawashima		| editing = Akimasa Kawashima
			| studio = ]<br />]<br />]<br />]<br />]<br />Sedic<br />]<br />]<br />]
	| distributor = ]		| distributor = ]
	| released = {{Film date|df=y|2008|09|13}}		| released = {{Film date|df=y|2008|08|23|MWFF|2008|09|13|Japan}}
	| runtime = 130 minutes		| runtime = 130 minutes
	| country = Japan		| country = Japan
	| language = Japanese		| language = Japanese
	| budget =		| budget =
	| gross = $69,932,387{{sfn|Box Office Mojo staff}}		| gross = $70 million{{sfn|''Box Office Mojo''}}
	}}		}}
	{{nihongo|'''''Departures'''''|おくりびと|Okuribito|extra="one who sends off"}} is a 2008 Japanese drama film directed by ], and starring ], ], and ]. Loosely based on Shinmon Aoki's memoir ''Coffinman'', the film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a {{nihongo|mortician|納棺師|nōkanshi}}. He is the subject of prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he earns respect and learns the importance of interpersonal connections through the beauty and dignity of his work.		{{nihongo|'''''Departures'''''|おくりびと|Okuribito|extra=<!--Please do not remove; this is necessary for an understanding of a pun later in the article-->"one who sends off"|lead=yes}} is a 2008 Japanese ] directed by ] and starring ], ], and ]. The film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a '']''—a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he repairs these interpersonal connections through the beauty and dignity of his work.
	Affected by having seen a funeral ceremony along the ] when travelling in India, a young Motoki returned to Japan and read widely on the subject of death. He came across ''Coffinman'' and felt that the story would adapt well to film. ''Departures'' was finished a decade later, but due to Japanese prejudices against those who handle the dead, distributors were reluctant to release it—until a surprise grand prize win at the ] in 2008. The following month the film opened in Japan and went on to win ] and become the year's highest-grossing domestic film in Japan. This success was topped in 2009 when at the ] it became the first Japanese film to win the ].		The idea for ''Departures'' arose after Motoki, affected by having seen a funeral ceremony along the ] when travelling in India, read widely on the subject of death and came across ''Coffinman''. He felt that the story would adapt well to film, and ''Departures'' was finished a decade later. Because of Japanese prejudices against those who handle the dead, distributors were reluctant to release it—until a surprise grand prize win at the ] in August 2008. The following month the film opened in Japan, where it went on to win the ] and become the year's highest-grossing domestic film. This success was topped in 2009, when it became the first Japanese production to win the ].{{efn|name=A|Before the category was formed in 1956, three Japanese films received ]: '']'' (]; 1951), '']'' (]; 1954), and '']'' (]; 1955) {{harv|MMPAJ}}. The Japanese-Soviet co-production '']'' (]; 1975) won the award, but it was submitted for the Soviet Union {{harv|Armstrong}}.}}
	''Departures'' received mixed to positive reviews, with aggregator ] indicating an 81% approval rating from 102 reviews. Critics praised the film's humour, the beauty of the encoffining ceremony, and the quality of the acting, but took issue with its predictability and overt sentimentality. Reviewers highlighted a variety of themes, but focused mainly on the humanity which death brings to the surface and how it strengthens family bonds. The success of ''Departures'' led to increased interest in encoffining ceremonies and the development of a tourism industry based around the film, as well as adaptation of the story for various media, including a ] and stage play.		''Departures'' received positive reviews, with aggregator ] indicating an 80% approval rating from 108 reviews. Critics praised the film's humour, the beauty of the ] ceremony, and the quality of the acting, but some took issue with its predictability and overt sentimentality. Reviewers highlighted a variety of themes, but focused mainly on the humanity that death brings to the surface and how it strengthens family bonds. The success of ''Departures'' led to the establishment of tourist attractions at sites connected to the film and increased interest in encoffining ceremonies, as well as adaptation of the story for various media, including ] and a stage play.
	==Plot==		==Plot==
	Daigo Kobayashi (]) loses his job as a cellist when his orchestra is disbanded. He and his wife Mika (]) move from Tokyo to his hometown of ], where they live in his childhood home, left to him when his mother died two years earlier. It is fronted by a coffee shop Daigo's father had run before running off with a waitress when Daigo was six; since then the two have had no contact. Daigo feels hatred towards his father and guilt over not taking better care of his mother. However, he still keeps a "letter-stone"—stones which are said to convey meaning through their texture—which his father had given him many years before.		Daigo Kobayashi (]) loses his job as a cellist when his orchestra is disbanded. He and his wife Mika (]) move from Tokyo to his hometown in ], where they live in his childhood home that was left to him when his mother died two years earlier. It is fronted by a coffee shop that Daigo's father had operated before he ran off with a waitress when Daigo was six; since then the two have had no contact. Daigo feels hatred towards his father and guilt for not taking better care of his mother. He still keeps a "stone-letter"—a stone which is said to convey meaning through its texture—which his father had given him many years before.
	Daigo finds an ad for a job "assisting departures". Assuming it to be a job in a travel agency, he goes to the interview at the NK Agent office and learns from the secretary Yuriko Kamimura (]) that he will be preparing bodies for cremation in a ceremony known as ]. Though reluctant, Daigo is hired on the spot and receives a cash advance from his new boss Sasaki (]). Daigo is furtive about his duties and hides the true nature of the job from Mika.		Daigo finds an advertisement for a job "assisting departures". Assuming it to be a job in a travel agency, he goes to the interview at the NK Agent office and learns from the secretary, Yuriko Kamimura (]), that he will be preparing bodies for cremation in a ceremony known as ]. Though reluctant, Daigo is hired on the spot and receives a cash advance from his new boss, Sasaki (]). Daigo is furtive about his duties and hides the true nature of the job from Mika.
	Daigo's first assignment is to assist with the encoffinment of woman who died at home and remained undiscovered for two weeks. He is beset with nausea, and later humiliated when strangers on the bus detect an unsavory scent on him. To clean himself, he visits a ] which he had frequented as a child; the owner, Tsuyako Yamashita (]), is the mother of an old classmate (]) of Daigo's.		His first assignment is to assist with the encoffinment of a woman who died at home and remained undiscovered for two weeks. He is beset with nausea and later humiliated when strangers on a bus detect an unsavoury scent on him. To clean himself, he visits a ] which he had frequented as a child. It is owned by Tsuyako Yamashita (]), the mother of one of Daigo's former classmates.
	Over time, Daigo becomes comfortable with his profession as he completes a number of assignments and experiences the gratitude of the families of the deceased. However, he faces social ostracism. When Mika discovers a training DVD in which Daigo plays a corpse and he refuses to quit the "disgusting profession", she returns to her parents' home in Tokyo. Elsewhere, Daigo's old classmate Yamashita insists that Daigo avoid his family until he can find a more respectable line of work.		Over time, Daigo becomes comfortable with his profession as he completes a number of assignments and experiences the gratitude of the families of the deceased. Though he faces social ostracism, Daigo refuses to quit, even after Mika discovers a training DVD in which he plays a corpse and leaves him to return to her parents' home in Tokyo. Daigo's former classmate Yamashita (]) insists that the mortician find a more respectable line of work and, until then, avoids him and his family.
	After a few months, Mika returns and announces that she is pregnant. She expresses hope that Daigo will find a job of which their child can be proud. While they argue, Daigo receives a call for an encoffinment for Mrs Yamashita. Daigo prepares her body in front of the Yamashita family and Mika, who had the public bath owner. The ritual earns him the respect of all present, and Mika stops insisting that Daigo change jobs.		After a few months, Mika returns and announces that she is pregnant. She expresses hope that Daigo will find a job of which their child can be proud. During the ensuing argument, Daigo receives a call for an encoffinment for Mrs Yamashita. Daigo prepares her body in front of both the Yamashita family and Mika, who had known the public bath owner. The ritual earns him the respect of all present, and Mika stops insisting that Daigo change jobs. At the funeral, Yamashita is permitted to witness the burning of his mother's body through a peephole on the retort and listens to a heartfelt anecdote about death told by the furnace operator.
	Some time later, the couple learn of the death of Daigo's father. A reluctant Daigo goes with Mika to another village to see the body. Daigo is at first unable to recognize him, but takes offence when local funeral workers are careless with the body. He insists on dressing it himself, and while doing so finds a stone-letter which he had given to his father, held tight in the dead man's hands. The childhood memory of his father's face returns to him, and after he finishes the ceremony, Daigo gently presses the stone-letter to Mika's pregnant belly.		Sometime later, they learn of the death of Daigo's father. Daigo experiences renewed feelings of anger and tells the others at the NK office that he refuses to deal with his father's body. Feeling ashamed of having abandoned her own son long ago, Yuriko tells this to Daigo in an effort to change his mind. Daigo berates Yuriko and storms out before collecting himself and turning around. He goes with Mika to another village to see the body. Daigo is at first unable to recognize him, but takes offence when local funeral workers are careless with the body. He insists on dressing it himself, and while doing so finds a stone-letter that he had given to his father, held tight in the dead man's hands. The childhood memory of his father's face returns to him, and after he finishes the ceremony, Daigo gently presses the stone-letter to Mika's pregnant belly.
	==Production==		==Production==
	===Cultural background===		===Cultural background===
			{{Main|Nōkanshi}}
	]; such rituals are generally conducted according to ] rites.]]
	]s are highly ritualized affairs which are generally—though not always—conducted in accordance with ] rites.{{sfn|Sosnoski|1996|p=70}} In preparation for the funeral, the body is washed and the orifices are blocked with cotton or gauze. The encoffining ritual (called a ''{{nihongo|nōkan|}}''), as in ''Departures'', is rarely performed, and even then generally in rural areas.{{sfn|Olsen 2009}} In this ceremony, professional {{nihongo|morticians|納棺師|nōkanshi}}{{efn|Also called a {{nihongo|morticians|湯灌師|yukanshi}}; ''{{transl|ja|yukan}}'' is the ceremonial cleansing of the body that comes before the ''{{transl|ja|nōkan}}'' proper.}} ritually prepare the body. The deceased is dressed in white, and makeup may be applied. The body is then put on ] in a casket, followed by personal items and items necessary for the trip to the afterlife.{{sfn|Kim|2002|pp=225–257}}<!-- (particularly 234–37) -->		]s are highly ritualized affairs which are generally—though not always—conducted in accordance with ] rites.{{sfn|Sosnoski|1996|p=70}} In preparation for the funeral, the body is washed and the orifices are blocked with cotton or gauze. The encoffining ritual (called ''nōkan''), as depicted in ''Departures'', is rarely performed, and even then only in rural areas.{{sfn|Olsen 2009}} This ceremony is not standardized, but generally involves professional {{nihongo|morticians|納棺師|nōkanshi}}{{efn|Also called {{nihongo|morticians|湯灌師|yukanshi}}; ''{{transliteration|ja|yukan}}'' is the ceremonial cleansing of the body that comes before the ''{{transliteration|ja|nōkan}}'' proper.}} ritually preparing the body, dressing the dead in white, and sometimes applying make-up. The body is then put on ] in a casket, along with personal possessions and items deemed necessary for the trip to the afterlife.<ref>{{harvnb|Kim|2002|pp=225–257}}<!-- (particularly 234–37) -->; {{harvnb|Okuyama|2013|p=4}}.</ref>
	Despite the importance of death rituals, in traditional Japanese culture the subject is considered unclean as all which is related to death is taught to be a source of ''{{transl|ja|]}}'' (defilement). After coming into contact with the dead individuals must purify themselves through ].{{sfn|Plutschow|1990|p=30}} Persons who work closely with the deceased, such as morticians, are thus considered unclean, and during the ] those whose work was related to death became ], forced to live in their own hamlets and discriminated against by wider society. Despite a cultural shift since the ], the stigma of death still has considerable force within Japanese society.{{sfn|Pharr|2006|pp=134–135}}		Despite the importance of death rituals, in traditional Japanese culture the subject is considered unclean as everything related to death is thought to be a source of ''{{transliteration|ja|]}}'' (defilement). After coming into contact with the dead, individuals must cleanse themselves through ].{{sfn|Plutschow|1990|p = 30}} People who work closely with the dead, such as morticians, are thus considered unclean, and during the ] those whose work was related to death became '']'' (untouchables), forced to live in their own hamlets and discriminated against by wider society. Despite a cultural shift since the ] of 1868, the stigma of death still has considerable force within Japanese society, and discrimination against the untouchables has continued.{{efn|For a more detailed discussion of the position of ''kegare'' and death in Japanese society, see {{harvnb|Okuyama|2013|pp=8–12}}.}}{{sfn|Pharr|2006|pp=134–135}}
	Until 1972, most deaths were dealt with by families, funeral homes, or ''{{transl|ja|nōkanshi}}''. As of 2014, eight-tenths<!-- "８割" isn't necessarily exactly 80% --> of deaths have come to occur in hospitals, and preparation of the bodies is frequently done by hospital staff; in such cases, the family often does not see the body until the funeral.{{sfn|Hosaka|2014|p=58}} A 1998 survey found that 29.5% of the Japanese population believed in an afterlife, and a further 40% wanted to believe; belief was highest {{not a typo|among the young}}. Belief in the existence of a soul (54%) and a connection between the worlds of the living and the dead (64.9%) was likewise common.{{sfn|Ide|2009|p=2}}		Until 1972, most deaths were dealt with by families, funeral homes, or ''{{transliteration|ja|nōkanshi}}''. {{as of|2014||}}, about 80%<!-- "８割" (eight-tenths) isn't necessarily exactly 80% --> of deaths occur in hospitals, and preparation of the bodies is frequently done by hospital staff; in such cases, the family often does not see the body until the funeral.{{sfn|Hosaka|2014|p = 58}} A 1998 survey found that 29.5% of the Japanese population believed in an afterlife, and a further 40% wanted to believe; belief was highest {{not a typo|among the young}}. Belief in the existence of a soul (54%) and a connection between the worlds of the living and the dead (64.9%) was likewise common.{{sfn|Ide|2009|p = 2}}
	===Conception and preproduction===		===Conception and preproduction===
	In the early 1990s, a 27-year-old Motoki and his friend travelled to India; just before going, at the friend's recommendation he read ]'s ''Memento Mori'' (Latin for "remember that you will die").{{sfn|Takabe|Wakatsuki|2009|pp=194–195}} While in India, he visited ], where he witnessed a ceremony in which the dead were cremated and their ashes floated down the ].{{sfn|Iwata|2008|p=9}} Motoki was deeply affected by this ceremony of death against a backdrop of bustling crowds going about their lives.{{sfn|Takabe|Wakatsuki|2009|pp=194–195}} Upon returning to Japan, he devoured numerous books on the subject of death, and in 1993 wrote a book on the relation of life and death: ''Tenkuu Seiza—Hill Heaven''.{{efn|天空静座―HILL HEAVEN}}{{sfn|Takabe|Wakatsuki|2009|p=195}} Among the books he read was {{ill|ja|Aoki Shinmon|青木新門}}'s autobiographical {{nihongo|''Coffinman: The Journal of a Buddhist Mortician''|納棺夫日記|Nōkanfu Nikki}},{{efn|Shinmon Aoki was born in Toyama Prefecture in 1937, and ran a pub-café until it went out of business, thereafter becoming a mortician as detailed in ''Coffinman'' {{harv|Tanabe|2009|p=9}}.}} which exposed Motoki to the world of the ''{{transl|ja|nōkanshi}}'' for the first time. Motoki said he found a mysteriousness and near-eroticism to the profession that he felt had an affinity with film world.{{efn|Motoki: 「その職業はとてもミステリアスで、ある種、エロチックで、すごく映画の世界に近いと感じたんです」}}{{sfn|Takabe|Wakatsuki|2009|p=196}}		In the early 1990s, a 27-year-old Motoki and his friend travelled to India; just before going, at the friend's recommendation he read ]'s ''Memento Mori'' (Latin for "remember that you will die").{{sfn|Takabe|Wakatsuki|2009|pp = 194–195}} While in India, he visited ], where he saw a ceremony in which the dead were cremated and their ashes floated down the ].{{sfn|Iwata|2008|p = 9}} Witnessing this ceremony of death against a backdrop of bustling crowds going about their lives deeply affected Motoki.{{sfn|Takabe|Wakatsuki|2009|pp = 194–195}} When he returned to Japan, he read numerous books on the subject of death, and in 1993 wrote a book on the relationship between life and death: ''Tenkuu Seiza—Hill Heaven''.{{efn|{{cite book|script-title=ja:天空静座―Hill Heaven|title=Tenkū Seiza―Hill Heaven|trans-title=Tenkuu Seiza—Hill Heaven|language=ja|editor1-last=Motoki|editor1-first=Masahiro|editor2=Silver Insects|year=1993|publisher=Tōa Dōbunshoin International|isbn=978-4-8103-7183-3}} }}{{sfn|Takabe|Wakatsuki|2009|p = 195}} Among the books he read was ]'s autobiographical {{nihongo|''Coffinman: The Journal of a Buddhist Mortician''|納棺夫日記|Nōkanfu Nikki}},{{efn|Shinmon Aoki was born in Toyama Prefecture in 1937, and ran a pub-café until it went out of business, thereafter becoming a mortician as detailed in ''Coffinman'' {{harv|Tanabe|2009|p=9}}.}} which exposed Motoki to the world of the ''{{transliteration|ja|nōkanshi}}'' for the first time. Motoki said he found a sense of mystery and near-eroticism to the profession that he felt had an affinity with the film world.{{efn|Original: 「その職業はとてもミステリアスで、ある種、エロチックで、すごく映画の世界に近いと感じたんです」.}}{{sfn|Takabe|Wakatsuki|2009|p = 196}}
	Getting funding for the project was difficult owing to the taboos against death, and the crew had to approach several companies before ''Departures'' was greenlit by Toshiaki Nakazawa and Yasuhiro Mase of ].<ref>{{harvnb|Schilling 2009, Funereal flick}}; {{harvnb|Hale 2009}}</ref> {{ill|ja|Kundō Koyama|小山薫堂}} was enlisted to provide the script, his first for a feature film; his previous experience had been in scripting for television and production.{{sfn|Yoshida|2010|p=43}} Koyama also provided the title.{{sfn|Kinema Junpo editorial staff|2009|p=57}} ], a director who had begun his career in the exploitation ] genre before entering mainstream filmmaking in 1986 with '']'',{{efn|Takita's works in the pink film genre included ''Chikan Onna Kyōshi'' (''Molestful Female Teacher'', 1981), {{ill|ja|Renzoku Bōran|連続暴姦|''Renzoku Bōran''}} (''Serial Violent Rape'', 1983) and ''Mahiru no Kirisaki-Ma'' (''Midday Ripper'', 1984) {{harv|Suzuki|2012}}. By the time he directed ''Departures'', his more mainstream work had already gained international recognition and awards: the 2004 film '']'', for instance, won Takita his first Japan Academy Prize for Best Film {{harv|Sapia staff|2009}}. Such a career path was not uncommon career path for directors in 1970s and 1980s Japan; the Japan Academy Prize winner ], for instance, made his debut with '']'' {{harv|Suzuki|2012}}. }} took on the director's role in 2006, after producer Toshiaki Nakazawa presented him with the first draft of the script.<ref>{{harvnb|Schilling 2009, Funereal flick}}; {{harvnb|Takabe|Wakatsuki|2009|p=198}}</ref> In a later interview he stated "I wanted to make a film from the perspective of a person who deals with something so universal and yet is looked down upon, and even discriminated against".{{sfn|Blair 2009, Departures (Japan)}} Although he knew of the encoffining ceremony, he had never seen one performed.{{sfn|Olsen 2009}}		Getting funding for the project was difficult because of the taboos against death, and the crew had to approach several companies before ''Departures'' was approved by Yasuhiro Mase and Toshiaki Nakazawa.<ref>{{harvnb|Schilling 2009, Funereal flick}}; {{harvnb|Hale 2009}}.</ref> According to the film's director, ], a consideration in taking on the film was the age of the crew: "we got to a certain point in our lives when death was creeping up to become a factor around us".{{sfn|Takita|2008|loc = 00:50–01:10}} ] was enlisted to provide the script, his first for a feature film; his previous experience had been in scripting for television and stage.{{sfn|Yoshida|2010|p = 43}} Takita, who had begun his career in the ] genre before entering mainstream filmmaking in 1986 with '']'',{{efn|Takita's works in the pink film genre included ''Chikan Onna Kyōshi'' (''Molestful Female Teacher'', 1981), {{Interlanguage link|Renzoku Bōran|ja|3=連続暴姦|lt=''Renzoku Bōran''}} (''Serial Violent Rape'', 1983) and ''Mahiru no Kirisaki-Ma'' (''Midday Ripper'', 1984) {{harv|Suzuki|2012}}. By the time he directed ''Departures'', his more mainstream work had already gained international recognition and awards: the 2003 film '']'', for instance, won Takita his first Japan Academy Prize for Best Film {{harv|Sapia staff|2009}}. Such a career path was not uncommon for directors in Japan in the 1970s and 1980s; the Japan Academy Prize winner ], for instance, made his debut with '']'' {{harv|Suzuki|2012}}. }} took on the director's role in 2006, after producer Toshiaki Nakazawa presented him with the first draft of the script.<ref>{{harvnb|Schilling 2009, Funereal flick}}; {{harvnb|Takabe|Wakatsuki|2009|p=198}}.</ref> In a later interview he stated "I wanted to make a film from the perspective of a person who deals with something so universal and yet is looked down upon, and even discriminated against".{{sfn|Blair 2009, Departures (Japan)}} Although he knew of the encoffining ceremony, he had never seen one performed.{{sfn|Olsen 2009}}
	Production of ''Departures'' took ten years, and the work was ultimately only loosely adapted from ''Coffinman''.<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|Gray|2009}}</ref> Although the religious aspects of funerals were an important aspect of the source work, the film did not include them. This, together with the fact that filming was completed in ] and not his hometown of ], led to tensions between the production staff and author. Aoki expressed concern that the film was unable to address "the ultimate fate of the dead", and later reportedly refused permission for ''Departures'' to use the ''Coffinman'' title.{{sfn|Mullins|2010|p=102}} The first edition of the book was broken into three parts; the third, "Light and Life", was an essay-like Buddhist musing on life and death that is absent from the film.{{sfn|Handa|2010|pp=64, 76}} After seeing the script, he rejected having his name and book title used in the film, as its humanistic approach did away with the religious aspects that he felt were central to the book—the emphasis on maintaining connections between the living and the dead that he felt only religion could provide.{{sfn|Tanabe|2009|p=9}}		Production of ''Departures'' took ten years, and the work was ultimately only loosely adapted from ''Coffinman'';<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|Gray|2009}}.</ref> later revisions of the script were worked on collaboratively by the cast and crew.{{sfn|Takita|2008|loc = 1:32–1:40}} Although the religious aspects of funerals were important in the source work, the film did not include them. This, together with the fact that filming was completed in ] and not Aoki's home prefecture of ], led to tensions between the production staff and the author. Aoki expressed concern that the film was unable to address "the ultimate fate of the dead".{{sfn|Mullins|2010|p = 102}} The first edition of the book was broken into three parts; the third, "Light and Life", was an essay-like Buddhist musing on life and death, regarding the "light" seen when one perceived the integration of life and death, that is absent from the film.<ref>{{harvnb|Handa|2010|pp=64, 76}}; {{harvnb|Tanabe|2009|p=9}}.</ref> Aoki believed the film's humanistic approach did away with the religious aspects that were central to the book—the emphasis on maintaining connections between the living and the dead that he felt only religion could provide—and refused to allow his name and that of his book to be used.{{sfn|Tanabe|2009|p = 9}} For the new title, Koyama coined the term ''{{transliteration|ja|okuribito}}'' as a euphemism for ''{{transliteration|ja|nōkanshi}}'', derived from the words ''{{transliteration|ja|okuru}}'' ("to send off") and ''{{transliteration|ja|hito}}'' ("person").{{sfn|Okuyama|2013|p = 13}}
	While the book and film share the same premise, the details differ considerably.{{sfn|Handa|2010|pp=74–75}} Both feature a protagonist who endures uneasiness and prejudice of his being a ''{{transl|ja|nōkanshi}}'';{{sfn|Tanabe|2009|p=9}} both have a theme of an individual who undergoes personal growth as a result of his experiences and, confronted with death, finds new meaning in life.{{sfn|Handa|2010|pp=73–74}} In both, the main character deals with societal prejudices and misunderstandings over his profession.{{sfn|Handa|2010|p=75}} In ''Coffinman'', the protagonist was the owner of a pub-café that had gone out of business; during a domestic squabble his wife threw a newspaper at him, inside which he found the ad for the ''{{transl|ja|nōkanshi}}'' position.{{sfn|Handa|2010|p=74}} He finds pride in his work for the first time when dealing with the body of a former girlfriend.{{sfn|Handa|2010|p=75}} Aoki put particular emphasis on the "light" seen when one perceived the integration of life and death.{{sfn|Tanabe|2009|p=9}} Koyama had wanted cello orchestration for the film score, and from that sprang the idea of making the protagonist a cellist.{{sfn|Handa|2010|pp=76–77}} Other differences included moving the setting for filming convenience from Toyoma to Yamagata, moving the "letter-stone" from a subplot to a main motif,{{sfn|Handa|2010|p=77}} and an avoidance of heavier scenes, such as religious ones or one in which Aoki talks of seeing "light" in a swarm of maggots.{{sfn|Tanabe|2009|p=9}}		While the book and film share the same premise, the details differ considerably; Aoki attributed these changes to the studio making the story more commercial.<ref>{{harvnb|Handa|2010|pp=74–75}}; {{harvnb|Okuyama|2013|p=3}}.</ref> Both feature a protagonist who endures uneasiness and prejudice because of his job as a ''{{transliteration|ja|nōkanshi}}'',{{sfn|Tanabe|2009|p = 9}} undergoes personal growth as a result of his experiences, and finds new meaning in life when confronted with death.{{sfn|Handa|2010|pp = 73–74}} In both, the main character deals with societal prejudices and misunderstandings over his profession.{{sfn|Handa|2010|p = 75}} In ''Coffinman'', the protagonist was the owner of a pub-café that had gone out of business; during a domestic squabble his wife threw a newspaper at him, in which he found an ad for the ''{{transliteration|ja|nōkanshi}}'' position.{{sfn|Handa|2010|p = 74}} He finds pride in his work for the first time when dealing with the body of the father of a former girlfriend.{{sfn|Handa|2010|p = 75}} Koyama changed the protagonist from a bar owner to cellist as he wanted cello orchestration for the film score.{{sfn|Handa|2010|pp = 76–77}} Other differences included moving the setting from Toyoma to Yamagata for filming convenience, making the "letter-stone" a greater part of the plot,{{sfn|Handa|2010|p = 77}} and an avoidance of heavier scenes, such as religious ones and one in which Aoki talks of seeing "light" in a swarm of maggots.{{sfn|Tanabe|2009|p = 9}} Koyama also added the subplot in which Daigo is able to forgive his late father; taken from a novel he was writing, it was intended to close the story with "some sense of happiness".{{sfn|Okuyama|2013|pp = 313}}
	===Casting===		===Casting===
			], who had formerly worked with Takita, was cast as Mika.]]
	Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo.{{efn|Motoki was born in 1965 in ] and made his professional acting debut in 1981 in the TV drama ''2-nen B-gumi Senpachi Sensei'' (''Mr Senpachi of Class 2-B''). In 1989 he won the Japan Academy Prize for Best New Actor for his role in {{ill|ja|Four Days of Snow and Blood|226 (映画)|''Four Days of Snow and Blood''}} {{harv|Weekly Biz staff|2009}}.}}{{sfn|Weekly Biz staff|2009}} Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki;{{sfn|Schilling 2009, Funereal flick}} Takita had worked before with Yamazaki on '']'' (1993).{{sfn|Nomura|2008|p=60}} Although the character of Mika was initially envisioned as being the same age as Daigo, pop singer Ryōko Hirosue, who had previously acted in Takita's ''Himitsu'' (''Secret'') in 1999.{{efn|In ''Himitsu'', the personality of a man's dead wife takes over the body of the couple's teenage daughter; Hirosue played both the mother and daughter {{harv|Schilling 2009, Funereal flick}}. She won a ] for her role {{harv|Nakao|2012}}. }} Takita explained that the casting of a younger actress allowed the lead couple's growth out of naivety to be better represented.{{sfn|Schilling 2009, Funereal flick}} In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".{{sfn|Blair 2009, Just a Minute}}
			Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo.{{efn|Motoki was born in 1965 in ] and made his professional acting debut in 1981 in the TV drama ''2-nen B-gumi Senpachi Sensei'' (''Mr Senpachi of Class 2-B''). In 1989 he won the Japan Academy Prize for Best New Actor for his role in {{Interlanguage link|Four Days of Snow and Blood|ja|3=226 (映画)|lt=''Four Days of Snow and Blood''}} {{harv|Weekly Biz staff|2009}}.}}{{sfn|Weekly Biz staff|2009}} Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki;{{sfn|Schilling 2009, Funereal flick}} Takita had worked with Yamazaki on '']'' (1993).{{sfn|Nomura|2008|p = 60}} Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryōko
			Hirosue, who had previously acted in Takita's ''Himitsu'' (''Secret'') in 1999.{{efn|In ''Himitsu'', the personality of a man's dead wife takes over the body of the couple's teenage daughter; Hirosue played both the mother and daughter {{harv|Schilling 2009, Funereal flick}}. She was nominated for a ] for her performance {{harv|Nippon Academy-shō Association, 2000}}. }} Takita explained that a younger actress would better represent the lead couple's growth out of naivety.{{sfn|Schilling 2009, Funereal flick}} In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".{{sfn|Blair 2009, Just a Minute}}
	Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission&nbsp;... to try to use as much human warmth as I could to restore to a lifelike presence for presentation to her family".<ref>{{harvnb|Takabe|Wakatsuki|2009|p=199}}; {{harvnb|Hale 2009}}</ref> Motoki then drilled himself by practising on his manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the ].<ref>{{harvnb|Nomura|2008|p=60}}; {{harvnb|Tsukada|2008|p=2}}; {{sfn|Takabe|Wakatsuki|2009|p=199}}</ref> Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training.<ref>{{harvnb|Iwata|2008|p=8}}; {{harvnb|Tourtellotte|Reynolds|2009}}</ref> Motoki also learned how to play a cello for the earlier parts of the film.{{sfn|Tourtellotte|Reynolds|2009}}		Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission&nbsp;... to try to use as much human warmth as I could to restore to a lifelike presence for presentation to her family".<ref>{{harvnb|Takabe|Wakatsuki|2009|p=199}}; {{harvnb|Hale 2009}}.</ref> Motoki then drilled himself by practising on his ] until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the ].<ref>{{harvnb|Nomura|2008|p=60}}; {{harvnb|Tsukada|2008|p=2}}; {{harvnb|Takabe|Wakatsuki|2009|p=199}}.</ref> Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training.<ref>{{harvnb|Iwata|2008|p=8}}; {{harvnb|Tourtellotte|Reynolds|2009}}.</ref> Motoki also learned how to play a cello for the earlier parts of the film.{{sfn|Tourtellotte|Reynolds|2009}}
	To provide realistic bodies while preventing the ], after a lengthy casting process the crew chose ] who could lay as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for ]s was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor, allowing for a realistic effect.{{sfn|Blair 2009, Just a Minute}}		To provide realistic bodies while preventing the ], after a lengthy casting process the crew chose ] who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a ] was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect.{{sfn|Blair 2009, Just a Minute}}
	===Filming and post-production===		===Filming and post-production===
			The non-profit organization Sakata Location Box was established in December 2007 to handle on-location matters such as finding extras and negotiating locations. After deciding to shoot in Sakata, Location Box staff had two months to prepare for the eighty members of the film crew.{{sfn|Hagiwara|2009|p = 8}} Negotiations were slow, as many local property owners lost interest after learning that the filming would involve funeral scenes; those who agreed insisted that shooting take place outside of business hours.{{sfn|Hagiwara|2009|p = 9}}
	]
	The non-profit organization Sakata Location Box was established up in December 2007 to handle on-location matters such as finding extras and negotiating locations. After Sakata was decided on, Location Box staff had two months to prepare for the eighty members of the film crew.{{sfn|Hagiwara|2009|p=8}} Negotiations were slow, as many local property owners lost interest after learning that the filming would involve funeral scenes; those who agreed insisted that shooting take place outside of business hours.{{sfn|Hagiwara|2009|p=9}}
			]
	Toyama was both the setting of ''Coffinman'' and Takita's home prefecture, but filming was done in Yamagata; this was largely because the national Nōkan Association, headquartered in ], had a branch office in Sakata.{{sfn|Takabe|Wakatsuki|2009|p=198}} Some preliminary scenes of snowy landscapes were shot in 2007, and primary filming was from April 2008, lasting 40 days.<ref>{{harvnb|Nomura|2008|p=59}}; {{harvnb|Takabe|Wakatsuki|2009|p=199}}</ref> Locations included ], Sakata, ], ], and ].{{sfn|Takabe|Wakatsuki|2009|p=199}} The NK Agent office was filmed in a three-story, Western-style building in Sakata built between the mid-] and ]s. Originally a restaurant named Kappō Obata, it went out of business in 1998.{{sfn|Yamagata News Online staff|2014}} The Kobayashis' café, called Concerto in the film, was located in Kaminoyama in a former beauty salon. From a hundred candidates, Takita chose it for its atmosphere as an aged building with a clear view of the nearby river and surrounding mountain range.{{sfn|Yamagata Community Shinbun staff|2009}} The scene of shooting of the training DVD took place in the {{ill|ja|Sakata Minato-za|酒田港座}}, Yamagata's first movie theatre, built in 1910 and closed in 2002.{{sfn|Yamagata Television System staff|2009}}
			Toyama was both the setting of ''Coffinman'' and Takita's home prefecture, but filming was done in Yamagata; this was largely because the national Nōkan Association, headquartered in ], had a branch office in Sakata.{{sfn|Takabe|Wakatsuki|2009|p = 198}} Some preliminary scenes of snowy landscapes were shot in 2007, and primary filming began in April 2008, lasting 40 days.<ref>{{harvnb|Nomura|2008|p=59}}; {{harvnb|Takabe|Wakatsuki|2009|p=199}}.</ref> Locations included ], Sakata, ], ], and ].{{sfn|Takabe|Wakatsuki|2009|p = 199}} The NK Agent office was filmed in a three-storey, Western-style building in Sakata built in 1922. Originally a restaurant named Kappō Obata, it went out of business in 1998.{{sfn|Yamagata News Online staff|2014}} The Kobayashis' café, called Concerto in the film, was located in Kaminoyama in a former beauty salon. From a hundred candidates, Takita chose it for its atmosphere as an aged building with a clear view of the nearby river and surrounding mountain range.{{sfn|Yamagata Community Shinbun staff|2009}} The scene of the shooting of the training DVD took place in the ], Yamagata's first movie theatre, which had been closed since 2002.{{sfn|Yamagata Television System staff|2009}}
			The soundtrack to ''Departures'' was by ], a composer who had gained international recognition for his work with ] and ]. Before shooting began, Takita asked him to prepare a soundtrack which would represent the separation between Daigo and his father, as well as the mortician's love for his wife.{{sfn|Takita|2008|loc = 06:08–06:16}} Owing to the importance of cellos and cello music in the narrative, Hisaishi emphasized the instrument in his soundtrack;{{sfn|Nippon Academy-shō Association, 2009}} he described the challenge of centring a score around the cello as one of the most difficult things he had ever done.{{sfn|Takita|2008|loc = 06:28–06:50}} This score was played during shooting, which according to Takita "allowed to visualize many of the emotions in the film" and thus contributed to the quality of the finished work.{{sfn|Takita|2008|loc = 06:17–06:28}}
	From the beginning an international release of the film was intended; as English is considered a key language in international film festivals, English subtitles were added to these releases. The translation was handled by Ian MacDougall.{{sfn|Shinohara|2013|p=81}} He believed that the workings of a mortician's world were as far from the experience of most Japanese as from that of a non-Japanese audience. As such he felt a faithful translation was best, without going far to accommodate foreign audiences to unfamiliar cross-cultural elements.{{sfn|Shinohara|2013|p=82}} The soundtrack to ''Departures'' was prepared by ], a composer who gained international recognition for his work with ] and ]. Owing to the importance of cellos and cello music in the narrative, Hisaishi emphasised the instrument in his soundtrack. He found this challenging.{{sfn|Nippon Academy-shō Association}}
	Upon completion, Takita declared ''Departures'' "perfect", and praised the crew for their self-reliance in developing the content and the humble, "hand-made" quality of the film. That the film's initial success depended largely on word-of-mouth was also a source of pride for the director.{{sfn|Takabe|Wakatsuki|2009|p=201}} ''Coffinman'' author Shinmon Aoki, praised Motoki's performance and the film's ability to show the importance of family and interpersonal connections, despite his disappointment at the dropping of the story's religious aspect,{{sfn|Tanabe|2009|p=9}}
	==Style==		==Style==
			As they are the movie's "central dramatic piece", the encoffining ceremonies in ''Departures'' have received extensive commentary.{{sfn|Byrnes 2009}} ], for instance, wrote in '']'' that these scenes were beautiful and heartbreaking, and Nicholas Barber of '']'' described them as "elegant and dignified".<ref>{{harvnb|Mike Scott 2009}}; {{harvnb|Barber 2009}}.</ref> James Adams of '']'' wrote that they were a "dignified ritual of calming, hypnotic grace, with sleights of hand bordering on the magicianly".{{sfn|Adams 2009}} As the film continues, Paul Byrnes of '']'' opined, the audience gains an improved knowledge of the ceremony and its importance.{{sfn|Byrnes 2009}} Viewers see that the ceremonies are not simply about preparing the body, but also about "bring dignity to death, respect to the deceased and solace to those who grieve", through which the encoffiners are able to help repair broken family ties and heal damage done to those left behind.{{sfn|Sharkey 2009}}
			There is an idealization of the ''{{transliteration|ja|nōkanshi}}'' as presented in the film. In all but one case, the dead are either young or already made-up, such that "the viewer can easily tolerate these images on the screen".{{sfn|Okuyama|2013|p = 5}} The one corpse that had not been found for several days is never shown on screen.{{sfn|Okuyama|2013|p = 5}} No bodies show the gaunt figure of one who has died after a long illness, or the cuts and bruises of an accident victim.{{sfn|Okuyama|2013|p = 17}} ] Mark R. Mullins writes that the gratitude shown in ''Departures'' would probably not have occurred in real life; according to ''Coffinman'', there "is nothing lower on the social scale than the mortician, and the truth of the matter is that fear the coffinman and the cremator just as much as death and the corpse".{{sfn|Mullins|2010|p = 103}}
	]s.]]		]s.]]
	A ] in which scenes of Daigo playing his childhood cello while sitting outdoors are interspersed with scenes of encoffining ceremonies, has drawn further discussion. Byrnes found it to be a case of the director increasing the emotional charge of the film,{{sfn|Byrnes 2009}} and ] of the '']'' considered it a "beautiful fantasy scene" through which the camera is "granted sudden freedom" from the generally standard shots.{{sfn|Ebert, Great Movies}} Leigh Paatsch of the '']'' had a more negative view, questioning the need for the shot.{{sfn|Paatsch 2009}}<!--pretty sure there are one or two more reviews that ridiculed the scene--> Throughout the film's soundtrack, cello music remains dominant.{{sfn|Adams 2009}} Yakita drew parallels between the instrument and the encoffining ceremony, stating that		In a ], scenes of Daigo playing his childhood cello while sitting outdoors are interspersed with scenes of encoffining ceremonies. Byrnes believes that this scene was meant to increase the emotional charge of the film,{{sfn|Byrnes 2009}} and ] of the '']'' considered it a "beautiful fantasy scene" through which the camera is "granted sudden freedom" from the generally standard shots.{{sfn|Ebert, Great Movies}} ] of the ] found that Daigo's deft movements while playing the cello mirrored the high level of professionalism which he had reached.{{sfn|Okuyama|2013|p = 16}} Several reviewers, such as Leigh Paatsch of the '']'', questioned the need for the shot.{{sfn|Paatsch 2009}}<!--pretty sure there are one or two more reviews that ridiculed the scene--> Throughout the film's soundtrack, cello music remains dominant.{{sfn|Adams 2009}} Takita drew parallels between the instrument and the encoffining ceremony, stating that
	{{quote|1="... ironically, there is something similar between the process of encoffinment and the act of playing the cello. When you play the cello, the instrument has a human, curvaceous form. The cellist embraces that form when playing the instrument, very loving, affectionate. That's very similar, physically, to the actions of the encoffiner, cradling the body, being tender and gentle with it."{{sfn|Moore 2009}}}}		{{Blockquote|1=... ironically, there is something similar between the process of encoffinment and the act of playing the cello. When you play the cello, the instrument has a human, curvaceous form. The cellist embraces that form when playing the instrument, very loving, affectionate. That's very similar, physically, to the actions of the encoffiner, cradling the body, being tender and gentle with it.{{sfn|Moore 2009}}}}
	Paul Byrnes of '']'' found that ''Departures'' used the symbol of the ], a flower which blooms after the winter only to wither soon afterwards, to represent the transience of life; by understanding this transience, he writes, Japanese people attempt to define their own existence. Natural symbols are further presented through the changing seasons, which "suggest delicate emotional changes" in the characters.{{sfn|Byrnes 2009}} The film's settings are used to convey various senses, including the solitude of the countryside and the intimacy of the public bath house.{{sfn|Howell 2009}}		Byrnes found that ''Departures'' used the symbol of the ], a flower which blooms after the winter only to wither soon afterwards, to represent the transience of life; through this understanding, he wrote, Japanese people attempt to define their own existence. Natural symbols are further presented through the changing seasons, which "suggest delicate emotional changes" in the characters,{{sfn|Byrnes 2009}} as well as the letter-stones, which represent "love, communication, the baton being passed from generation to generation".{{sfn|Takita|2008|loc = 09:35–09:55}} The film's settings are used to convey various sensations, including the solitude of the countryside and the intimacy of the public bath house.{{sfn|Howell 2009}} The colour white, manifested through snow, ]s, and other objects, is prominent in the film; Okuyama suggests that this, together with the classical music and ritualized hand gestures, represents the sacredness and purity of the death ceremonies.{{sfn|Okuyama|2013|p = 8}}
	''Departures'' incorporates aspects of humour, an "unexpected" compliment to the theme of death which Ebert suggested may be to mask the audience's fears.<ref>{{harvnb|Ebert, Departures}}; {{harvnb|Mike Scott 2009}}</ref> Betsy Sharkey of the '']'' opines that, through this use of humour, the film avoids becoming too dark and instead acts as a "warmhearted blend" of whimsy and irony.{{sfn|Sharkey 2009}} This humour manifests in a variety of manners, such as a scene in which "a mortified Daigo, naked except for a pair of adult diapers, is the reluctant model" for an educational video regarding the encoffining process, as well as a scene in which Daigo discovers that the person he is preparing is a ].<ref>{{harvnb|Adams 2009}}; {{harvnb|Sharkey 2009}}</ref> Takita stated that the addition of humour was deliberate, as "humans are comical by nature", and as such the humour did not conflict with the film's darker themes.{{sfn|Blair 2009, Departures (Japan)}}		''Departures'' incorporates aspects of humour, an "unexpected" complement to the theme of death which Ebert suggested may be used to mask the audience's fears.<ref>{{harvnb|Ebert, Departures}}; {{harvnb|Mike Scott 2009}}.</ref> Betsy Sharkey of the '']'' opines that, through this use of humour, the film avoids becoming too dark and instead acts as a "warmhearted blend" of whimsy and irony.{{sfn|Sharkey 2009}} This humour manifests in a variety of manners, such as a scene in which "a mortified Daigo, naked except for a pair of adult diapers, is the reluctant model" for an educational video regarding the encoffining process, as well as a scene in which Daigo discovers that the person he is preparing is a ].{{efn|According to Takita, the inclusion of a trans woman in the opening scene was to show both the "grace and gravity of the ritual" as well as indicate that the film would not be a "very heavy" one {{harv|Takita|2008|loc=03:30–03:55}}.}}<ref>{{harvnb|Adams 2009}}; {{harvnb|Sharkey 2009}}.</ref> Takita stated that the addition of humour was deliberate, as "humans are comical by nature", and that the humour did not conflict with the film's darker themes.{{sfn|Blair 2009, Departures (Japan)}}
	==Themes==		==Themes==
			Several critics discussed the theme of death found in ''Departures''. Scott highlighted the contrast between the taboo of death and the value of jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life.{{sfn|Mike Scott 2009}} Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated from his wife and friends owing to traditional values.{{sfn|Howell 2009}} Ultimately it is through his work with the dead that Daigo finds fulfilment, and, as Peter Howell of the '']'' concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity".{{sfn|Howell 2009}} Okuyama writes that, in the end, the film (and the book on which it was based) serves as a "quiet yet persistent protest" against the discrimination which people who deal with death continue to face in modern Japan: death is a normal part of life, not something repulsive.{{sfn|Okuyama|2013|p = 10}}
	As they are the movie's "central dramatic piece", the encoffining ceremonies in ''Departures'' have received extensive commentary.{{sfn|Byrnes 2009}} Mike Scott, for instance, wrote in '']'' that these scenes were beautiful yet heartbreaking at the same time, and Nicholas Barber of '']'' described them as "elegant and dignified".<ref>{{harvnb|Mike Scott 2009}}; {{harvnb|Barber 2009}}</ref> James Adams of '']'' wrote that they were a "dignified ritual of calming, hypnotic grace, with sleights of hand bordering on the magicianly".{{sfn|Adams 2009}} As the film continues, Byrnes opined, the audience gains an improved knowledge of it and its importance.{{sfn|Byrnes 2009}} Viewers see that the ceremonies are not simply about preparing the body, but also about "bring dignity to death, respect to the deceased and solace to those who grieve", through which the encoffiners are able to help repair broken family ties and heal damage done to those left behind.{{sfn|Sharkey 2009}}{{efn|] Mark R. Mullins notes, however, that the gratitude shown in ''Departures'' would likely not have occurred in real life. According to ''Coffinman'', there "is nothing lower on the social scale than the mortician, and the truth of the matter is that fear the coffinman and the cremator just as much as death and the corpse" {{harv|Mullins|2010|p=103}}.}}
			Along with this theme of death, Takita believed ''Departures'' was about life, about finding a lost sense of feeling human;{{sfn|Handa|2010|p = 74}} Daigo gains a greater perspective on life and realises the diversity of people's lives only after encountering them in death.<ref>{{harvnb|Katsuta|2008|p=11}}; {{harvnb|Iwata|2008|p=8}}.</ref> This life includes family bonds: Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office, conversation often revolves around family issues. Mika's pregnancy is the catalyst for her reconciliation with Daigo.{{sfn|Tanabe|2009|p = 9}}
	Scott highlighted the contrast between the taboo of death and jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the deceased in a way which preserved proud memories of their life.{{sfn|Mike Scott 2009}} Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated by his wife and friends owing to traditional values.{{sfn|Howell 2009}} Ultimately, however, it is through his work with the dead that Daigo finds life fulfilment, and, as Peter Howell of the '']'' concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity".{{sfn|Howell 2009}} While the film's theme is death, Takita believed ''Okuribito'' was about life, about finding a lost sense of feeling human.{{sfn|Handa|2010|p=74}} Ultimately, Daigo gains a greater perspective on life and comes to know the diversity of people's lives only after encountering them after death.<ref>{{harvnb|Katsuta|2008|p=11}}; {{harvnb|Iwata|2008|p=8}}</ref>
	The film emphasizes family bonds; Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office conversation often revolves around family issues. Mika's pregnancy is the catalyst toward her and Daigo's reconciliation.{{sfn|Tanabe|2009|p=9}} As with other Japanese films, such as '']'' (]; 1953) and '']'' (]; 1984), the film focuses on the effect of death on the survivors; the afterlife is not given much discussion.<ref>{{harvnb|Ebert, Great Movies}}; {{harvnb|Ebert, Departures}}</ref> Ebert wrote that this is indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation.{{sfn|Ebert, Departures}} ]'s Keith Phipps similarly noted a message in ''Departures'' that individuals should "savor" their life.{{sfn|Phipps 2009}} Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them".{{sfn|Blair 2009, Departures (Japan)}}		Ebert writes that, as with other Japanese films such as '']'' (]; 1953) and '']'' (]; 1984), ''Departures'' focuses on the effect of death on the survivors; the afterlife is not given much discussion.<ref>{{harvnb|Ebert, Great Movies}}; {{harvnb|Ebert, Departures}}.</ref> He considered this indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation.{{sfn|Ebert, Departures}} Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them".{{sfn|Blair 2009, Departures (Japan)}} The film touches on the question of the afterlife: the cremator likens death to "a gateway", and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides.{{sfn|Okuyama|2013|p = 13}}
	Byrnes found that ''Departures'' leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. The film explains that, although traditionally completed by the family of the deceased, a decreased lack of interest in completing the ceremonies opened a "niche market" for professional encoffiners.{{sfn|Byrnes 2009}}		Byrnes found that ''Departures'' leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. Although the encoffining ceremony was traditionally completed by the dead person's family, a decreased interest in it opened a "niche market" for professional encoffiners.{{sfn|Byrnes 2009}} Okuyama wrote that, through this film, Takita was filling a "spiritual loss" caused by the departure from tradition in modern Japan.{{sfn|Okuyama|2013|p = 18}} ] connected this theme of modernity to that of death, explaining that the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He considered the film's treatment of ''{{transliteration|ja|nōkan}}'' as an artistic rather than religious ceremony to reflect the agnostic attitudes of modern Japan.{{sfn|Tanabe|2009|p = 9}}
	==Release==		==Release==
	The taboo subject of ''Departures'' made prospective distributors wary of taking on the film.{{sfn|Takabe|Wakatsuki|2009|p=203}} Surveys conducted at pre-release screenings placed it at the bottom of the list of films audiences wanted to see.{{sfn|Takabe|Wakatsuki|2009|p=203}} Ultimately, the film debuted at the ] in August 2008 and was lauded with the festival's grand prize. This provided the necessary incentive for distributors to choose ''Departures'', which finally received its domestic Japanese release on 13 September 2008.<ref>{{harvnb|Kinema Junpo}}; {{harvnb|Schilling 2009, Producer}}; {{harvnb|Blair 2009, Yojiro Takita}}</ref> Even then, owing to the strong taboo against death, Takita was worried about the film's reception and did not anticipate commercial success, and others expressed concern that the film lacked a clear target audience.<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|Schilling 2009, Producer}}</ref>		The taboo subject of ''Departures'' made prospective distributors wary of taking on the film.{{sfn|Takabe|Wakatsuki|2009|p = 203}} Surveys conducted at pre-release screenings placed it at the bottom of the list of films audiences wanted to see.{{sfn|Takabe|Wakatsuki|2009|p = 203}} Ultimately, the film's debut at the ] in August 2008, which was rewarded with the festival's grand prize, provided the necessary incentive for distributors to select ''Departures''; it finally received its domestic Japanese release on 13 September 2008.<ref>{{harvnb|Kinema Junpo}}; {{harvnb|Schilling 2009, Producer}}; {{harvnb|Blair 2009, Yojiro Takita}}; {{harvnb|Kilday 2009, Regent}}.</ref> Even then, owing to the strong taboo against death, Takita was worried about the film's reception and did not anticipate commercial success, and others expressed concern that the film lacked a clear target audience.<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|Schilling 2009, Producer}}.</ref>
	This fear was misplaced; ''Departures'' debuted in Japan at fifth place, and during the fifth week of its run hit its peak position at third place.{{sfn|Takabe|Wakatsuki|2009|p=203}} It sold 2.6 million tickets in Japan and generated ]3.2 billion ($32 million) in box office revenue in the five months after its debut.<ref>{{harvnb|Eiga Ranking Dot Com staff}}; {{harvnb|Blair 2009, 'Departures' welcomed}}; {{harvnb|Schilling 2009, Funereal flick}}</ref> The film was still showing in 31 theatres when its success at the ] in February 2009 renewed interest, increasing the number of screens to 188 and allowing the film to earn another ¥2.8 billion ($28 million), for a total of ¥6 billion ($60 million). This made ''Departures'' the highest-grossing domestic film and 15th top-grossing film overall for 2008.<ref>{{harvnb|Eiga Ranking Dot Com staff}}; {{harvnb|Blair 2009, 'Departures' welcomed}}; {{harvnb|Schilling 2009, Funereal flick}}; {{sfn|Takabe|Wakatsuki|2009|p=203}}</ref> Executive producer Yasuhiro Mase credited this success to the effects of the ] on Japan: viewers were seeking employment after having been downsized, as with Daigo.{{sfn|Schilling 2009, Producer}}		This fear was misplaced; ''Departures'' debuted in Japan at fifth place, and during the fifth week of its run hit its peak position at third place.{{sfn|Takabe|Wakatsuki|2009|p = 203}} It sold 2.6 million tickets in Japan and generated 3.2 billion ] ($32 million) in box office revenue in the five months after its debut.<ref>{{harvnb|Eiga Ranking Dot Com staff}}; {{harvnb|Blair 2009, 'Departures' welcomed}}; {{harvnb|Schilling 2009, Funereal flick}}.</ref> The film was still showing in 31 theatres when its success at the ] in February 2009 renewed interest; the number of screens on which it was showing was increased to 188 and the film earned another ¥2.8 billion ($28 million), making a total of ¥6 billion ($60 million). This made ''Departures'' the highest-grossing domestic film and 15th top-grossing film overall for 2008.<ref>{{harvnb|Eiga Ranking Dot Com staff}}; {{harvnb|Blair 2009, 'Departures' welcomed}}; {{harvnb|Schilling 2009, Funereal flick}}; .{{harvnb|Takabe|Wakatsuki|2009|p=203}}</ref> Executive producer Yasuhiro Mase credited this success to the effects of the ] on Japan: viewers who were seeking employment after recently being downsized empathized with Daigo.{{sfn|Schilling 2009, Producer}}
			From the beginning an international release of the film was intended; as English is considered a key language in international film festivals, English subtitles were prepared. The translation was handled by Ian MacDougall.{{sfn|Shinohara|2013|p = 81}} He believed that the workings of the mortician's world were as far from the experience of most Japanese as from that of a non-Japanese audience. As such he felt a faithful translation was best, without going far to accommodate foreign audiences to unfamiliar cross-cultural elements.{{sfn|Shinohara|2013|p = 82}}
	In September 2008, ContentFilm acquired rights to the ''Departures'', which by that time had been licensed for screening in such countries as Greece, Australia, and Malaysia; the film was ultimately screened in 36 countries.<ref>{{harvnb|Frater 2008}}; {{harvnb|Danielsen}}</ref> North America distribution was handled by ], and ''Departures'' received a ] in nine theatres beginning on 29 May 2009. Overall, the film earned almost $1.5 million during its North American run before closing on 24 June 2010.{{sfn|Box Office Mojo staff}} In the United Kingdom, ''Departures'' premiered on 4 December 2009 and was distributed by ].{{sfn|British Board of Film Classification}} The film attained a worldwide gross of nearly $70 million.<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|Box Office Mojo staff}}</ref>
			In September 2008, ContentFilm acquired the international rights to ''Departures'', which by that time had been licensed for screening in countries such as Greece, Australia, and Malaysia; the film was ultimately screened in 36 countries.<ref>{{harvnb|Frater 2008}}; {{harvnb|Danielsen}}.</ref> North American distribution was handled by ],
			and ''Departures'' received a ] in nine theatres beginning on 29 May 2009. Overall, the film earned almost $1.5 million during its North American run before closing on 24 June 2010.{{sfn|''Box Office Mojo''}} In the United Kingdom, ''Departures'' premiered on 4 December 2009 and was distributed by ].{{sfn|British Board of Film Classification}} The film attained a worldwide gross of nearly $70 million.<ref>{{harvnb|Tourtellotte|Reynolds|2009}}; {{harvnb|''Box Office Mojo''}}.</ref>
	===Adaptations and other media===		===Adaptations and other media===
			{{Multiple image
	Before ''Departures'' premiered, a ] adaptation by ] was serialized in twelve instalments in the bi-weekly '']'', from February to August 2008. Sasō agreed to take on the adaptation as he was impressed by the script. He had the opportunity to view the film before beginning the adaptation, and came to feel that a too-literal adaptation would not be appropriate. He made changes to the settings and physical appearances of the characters, and increased focus on the role of music in the story.{{sfn|Takahashi 2008}} Later in 2008 the serial was compiled in a 280-page volume released by ].{{sfn|WorldCat, Okuribito}}
			| image1 = Joe Hisaishi 2011.jpg
			| image2 = Ai at The Best Tour (cropped).png
			| width1 = 153
			| width2 = 275
			| caption1 =
			| footer = The film's composer ] (''left'') worked with ] (''right'') on the image song "]".
			| align = left
			}}
			Before ''Departures'' premiered, a ] adaptation by ] was serialized in twelve instalments in the bi-weekly '']'', from February to August 2008. Sasō agreed to take on the adaptation as he was impressed by the script. He had the opportunity to view the film before beginning the adaptation, and came to feel that a too-literal adaptation would not be appropriate. He made changes to the settings and physical appearances of the characters, and increased the focus on the role of music in the story.{{sfn|Takahashi 2008}} Later in 2008 the serial was compiled in a 280-page volume released by ].{{sfn|''Okuribito''}}
	On 10 September 2008, three days before the Japanese premiere of ''Departures'', a ] for the film &ndash; containing nineteen tracks from the film and featuring an orchestral performance by members of the ] and ]s &ndash; was released by ]. .<ref>{{harvnb|Billboard Japan}}; {{harvnb|Universal Music}}</ref> Pop singer ] provided lyrics to music by Hisaishi the "image song" ''Okuribito/So Special''. Performed by Ai with an arrangement for cellos and orchestra, the single was released by {{ill|ja|Universal Sigma|ユニバーサルミュージック (日本)}} as a single on 10 September 2008 along with a promotional video.{{sfn|CinemaCafé.net staff|2008}} Sheet music for the film's soundtrack was published by KMP<!--ケイ・エム・ピー--> in 2008 (for cello and piano) and Onkyō<!--オンキョウパブリシュ--> in 2009 (for cello, violin, and piano).<ref>{{harvnb|WorldCat, おくりびと : ピアノ&チェロ・ピース /}}; {{harvnb|WorldCat, おくりびと : on record}}</ref>		On 10 September 2008, three days before the Japanese premiere of ''Departures'', a ] for the film—containing nineteen tracks from the film and featuring an orchestral performance by members of the ] and ]s—was released by ].<ref>{{harvnb|Billboard Japan}}; {{harvnb|Universal Music}}.</ref> Pop singer ] provided lyrics to music by Hisaishi for the ] "]"; performed by Ai with an arrangement for cellos and orchestra, the single was released by ] and ] on 10 September 2008 along with a promotional video.{{sfn|CinemaCafé.net staff|2008}} Sheet music for the film's soundtrack was published by KMP<!--ケイ・エム・ピー--> in 2008 (for cello and piano) and Onkyō<!--オンキョウパブリシュ--> in 2009 (for cello, violin, and piano).<ref>{{harvnb|おくりびと : ピアノ&チェロ・ピース}}; {{harvnb|WorldCat, おくりびと : on record}}.</ref>
	Shinobu Momose, a writer specializing in novelizations, penned a novel adaptation of ''Departures''. It was published by ] in 2008. That year the company also released ''Ishibumi''{{efn|Original: {{Nihongo||いしぶみ|ishibumi|extra2="Inscribed stone monument"}}}} (''Letter-Stone''), an illustrated book on the themes of the movie told from the point of view of a talking stone; this book was written by Koyama and illustrated by Seitarō Kurota.{{sfn|Handa|2010|p=59}} The following year Shogakukan published an edition of Koyama's first draft of the screenplay.{{sfn|Handa|2010|pp=58, 76}}		Shinobu Momose, a writer specializing in novelizations, adapted ''Departures'' as a novel. It was published by Shogakukan in 2008. That year the company also released ''Ishibumi''{{efn|Original: {{Nihongo||いしぶみ|ishibumi|extra2="Inscribed stone monument"}}.}} (''Letter-Stone''), an illustrated book on the themes of the film told from the point of view of a talking stone; this book was written by Koyama and illustrated by Seitarō Kurota.{{sfn|Handa|2010|p = 59}} The following year Shogakukan published an edition of Koyama's first draft of the screenplay.{{sfn|Handa|2010|pp = 58, 76}} A stage version of the film, also titled ''Departures'', was written by Koyama and directed by Takita. It debuted at the ] on 29 May 2010, featuring ] actor ] as Daigo and ] as Mika.<ref>{{harvnb|Asahi Shimbun staff|2010|p=1}}; {{harvnb|Asahi Shimbun staff|2010|p=2}}.</ref> The story, set seven years after the close of the film, concerns the insecurities of the couple's son over Daigo's profession.{{sfn|Asahi Shimbun staff|2010|p = 1}}
	A stage version, also titled ''Departures'', was written by Koyama and directed by Takita. It starred ] actor ] as Daigo and ] as Mika{{sfn|Asahi Shimbun staff|2010|p=1}} when it debuted at {{ill|ja|Akasaka ACT Theater|赤坂ACTシアター}} on 29 May 2010.{{sfn|Asahi Shimbun staff|2010|p=2}} The story, set seven years after the close of the film, concerns the insecurities of the couple's son over Daigo's profession.{{sfn|Asahi Shimbun staff|2010|p=1}}
	===Home releases===		===Home releases===
	A dual-layer DVD release, with special features including trailers, making-of documentaries, and a recorded encoffining ceremony, was released in Japan 18 March 2009.{{sfn|Cinema Topics Online staff|2009}} A North American DVD edition of ''Departures'', including an interview with the director, was released by ] on 12 January 2010; the film was not ], but rather presented with Japanese audio and English subtitles. A Blue-ray edition followed in May.{{sfn|Releases}} This home release received mixed reviews. Franck Tabouring of ] was highly positive of the film and the digital transfer, considering its visuals clean and sharp and the audio (particularly the music) "a pleasure to listen to".{{sfn|Tabouring|2010}} Thomas Spurlin, writing for ], rated the release as "Highly Recommended", focusing on the "unexpected powerhouse" of a film's quality.{{sfn|Spurlin|2010}} Another writer for the website, Jeremy Mathews, advised readers to "Skip It", finding the DVD an apt presentation of the source material—which he considered to "reduce itself to clumsy, mug-filled attempts at broad comedy and awkward, repetitive tear-jerker scenes".{{sfn|Mathews|2010}} Both DVD Talk reviews, however, agreed that the audio and visual quality were less than perfect, and that the DVD's extra contents were lacking; Mathews described the interview as the director answering "dull questions in a dull manner".<ref>{{harvnb|Spurlin|2010}}; {{harvnb|Mathews|2010}}</ref>		A dual-layer DVD release, with special features including trailers, making-of documentaries, and a recorded encoffining ceremony, was released in Japan on 18 March 2009.{{sfn|Cinema Topics Online staff|2009}} A North American DVD edition of ''Departures'', including an interview with the director, was released by ] on 12 January 2010; the film was not ], but rather presented with Japanese audio and English subtitles. A Blu-ray edition followed in May.{{sfn|Releases}} This home release received mixed reviews. Franck Tabouring of ] was highly complimentary toward the film and the digital transfer, considering its visuals clean and sharp and the audio (particularly the music) "a pleasure to listen to".{{sfn|Tabouring|2010}} Thomas Spurlin, writing for ], rated the release as "Highly Recommended", focusing on the "unexpected powerhouse" of the film's quality.{{sfn|Spurlin|2010}} Another writer for the website, Jeremy Mathews, advised readers to "Skip It", finding the DVD an apt presentation of the source material—which he considered to "reduce itself to clumsy, mug-filled attempts at broad comedy and awkward, repetitive tear-jerker scenes".{{sfn|Mathews|2010}} Both DVD Talk reviews agreed that the audio and visual quality were less than perfect, and that the DVD's extra contents were poor; Mathews described the interview as the director answering "dull questions in a dull manner".<ref>{{harvnb|Spurlin|2010}}; {{harvnb|Mathews|2010}}.</ref>
	==Reception==		==Reception==
	===Reviews===		===Critical response===
	''Departures'' received mixed-to-positive reviews from critics. Based on 102 reviews collected by the aggregator ], the film received an 81% approval rating from critics, with an ] score of 7.0/10{{sfn|Rotten Tomatoes}} and a 68/100 on the aggregator ].{{sfn|Metacritic}}		''Departures'' received generally positive reviews from critics. The ] ] sampled 109 reviewers and judged an 80% approval rating, with an ] score of 7.1 out of 10. The website's critical consensus states, "If slow and predictable, ''Departures'' is a quiet, life affirming story".{{sfn|Rotten Tomatoes}} The aggregator ] gives the film 68 out of 100, based on 27 reviews, indicating "generaly favorable reviews".{{sfn|Metacritic}}
	====Domestic reviews====		====Domestic reviews====
			Initial reviews in Japan were positive. In '']'', Tokitoshi Shioda called ''Departures'' a turning point in Takita's career, a human drama capturing both laughter and tears,{{sfn|Shioda|2008|p = 62}} while in the same publication Masaaki Nomura described the film as a work of supple depth that perhaps indicated a move into Takita's mature period, praising the director for capturing a human feeling from Motoki's earnest encoffining performance.{{sfn|Nomura|2008|p = 61}} Writing in the '']'', Seichi Fukunaga complimented Takita for using a moving, emotive story laden with humour to reverse prejudice against a taboo subject. He commended the performances of Motoki and Yamazaki, particularly their playing the serious Daigo against the befuddled Sasaki.{{sfn|Fukunaga|2008|p = 11}}
			In the '']'', Sadao Yamane found the film admirably constructed and extolled the actors' performances. Yamane was especially impressed by the delicate hand movements Motoki displayed when he performed the encoffinment ceremony.{{sfn|Yamane|2008|p = 5}} Tomomi Katsuta in the '']'' found ''Departures'' a meaningful story that made the viewer think about the different lives people live, and the significance of someone dying. Writing in the same newspaper, Takashi Suzuki thought the film memorable but predictable, and Yūji Takahashi opined that the film's ability to find nobility in a prejudiced subject was an excellent accomplishment.{{sfn|Katsuta|2008|p = 11}} Shōko Watanabe gave ''Departures'' four out of five stars in '']'' newspaper, praising the actors' unforced<!-- "さりげない" --> performances.{{sfn|Watanabe|2008|p = 20}}
	Initital reviews in Japan were positive. In ''Kinema Junpo'', Tokitoshi Shioda called ''Departures'' a turning point in Takita's career, a human drama capturing both laughter and tears,{{sfn|Shioda|2008|p=62}} while in the same publication Masaaki Nomura the film a work of supple depth that perhaps indicates a move into Takita's mature period, praising Takita for capturing a human feeling from Motoki's earnest encoffining performance.{{sfn|Nomura|2008|p=61}} Writing in the '']'', Seichi Fukunaga praised Takita for using a moving, emotive story laden with humour to reverse prejudice against a taboo subject. Fukunaga commended the performances of Motoki and Yamazaki, particularly the two playing the serious Daigo against the befuddled Sasaki.{{sfn|Fukunaga|2008|p=11}} In the '']'', Sadao Yamane found the film admirably put together. He praised the actors' performances, and found Motoki's heartwarming. Yamane was especially impressed by the delicate hand movements when Motoki performed the encoffinment ceremony.{{sfn|Yamane|2008|p=5}}
			Following the success of ''Departures'' at the Academy Awards, critic ] found the film to show a Japan that the Japanese could relate to, in that, in a nation whose customs put great weight on visits to ancestral graves,{{efn|It is a Japanese custom to make {{nihongo||墓参り|haka-mairi}} visits to the family {{nihongo||墓|haka}}, a grave monument to deceased ancestors.}} a death was always a family affair. He believed the film had a samurai beauty to it, with its many scenes of families sitting '']''.{{sfn|Tanabe|2009|p = 9}} Critic {{Interlanguage link|Yūichi Maeda|ja|3=前田有一}} gave the film a 90% rating, and credited the performances of the two leads for much of the film's success. He praised its emotional impact and its balance of seriousness and humour, but was more critical of the father–son relationship, which he considered overdone. Maeda attributed the film's international success, despite its heavily Japanese content, to its clear depiction of Japanese views on life and death. He found the film's conceptual scale to have an affinity to that of Hollywood (something he considered lacking in most Japanese films).{{sfn|Maeda 2008}}
	Tomomi Katsuta in the '']'' found ''Departures'' a meaningful story that makes the viewer think about the different lives people live, and the significance of someone dying. At the same paper, Takashi Suzuki thought the film memorable but predictable, and Yūji Takahashi thought the film's ability to find nobility a prejudiced subject was an excellent accomplishment.{{sfn|Katsuta|2008|p=11}} Shōko Watanabe gave ''Departures'' four out of five stars in the '']'', praising the actors' unforced<!-- "さりげない" --> performances.{{sfn|Watanabe|2008|p=20}}
			Reviewer Takurō Yamaguchi gave the film an 85% rating, and found the treatment of its subject charming. He praised its quiet emotional impact and humour, the interweaving of northern Japan scenery with Hisaishi's cello score, and the film's Japanese spirit.{{sfn|Yamaguchi}} Media critic {{Interlanguage link|Sadao Yamane|ja|3=山根貞男}} found a moving beauty in the dextrous hand movements Sasaki teaches Daigo for preparing bodies, and believed that a prior reading of the original script would deepen the viewer's understanding of the action.{{sfn|Yamane|2012|p = 352}} Mark Schilling of '']'' gave the film four stars out of five, praising the acting though criticizing the apparent idealization of the encoffiners. He concluded that the film "makes a good case for the Japanese way of death."{{sfn|Schilling 2008, 'Okuribito'}}
	Following the success of ''Departures'' at the ], critic Saburō Kawamoto believed the film showed a Japan that Japanese could relate to, in that, in a nation whose customs put great weight on ''hakamairi'', a death was always a family affair. He believed the film had a samurai beauty to it with its many scenes of families sitting ].{{sfn|Tanabe|2009|p=9}} ] believed the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He saw the film's treatment of ''{{transl|ja|nōkan}}'' as an artistic rather than religious thing as reflecting the agnostic attitudes of modern Japan, and that perhaps the film's worldwide success shows that the rest of the world may be beginning to follow that sentiment.{{sfn|Tanabe|2009|p=9}}
	Film critic {{ill|ja|Yūichi Maeda|前田有一}} game the film a 90% rating, and credited the performances of ''Departures''{{'s}} two leads for much of the film's success. He praised its emotional impact, in particular the final turnaround from the exaggerated disgust toward the protagonist's work, and the film's balance of seriousness and humour. He was more critical of the father–son relationship, which he considered overdone. Maeda saw the film's international success, despite the film's so-Japanese content, to it having so clearly depicted Japanese views on life and death. He found the film's conceptual scale to have an affinity to that of Hollywood, and saw this as a strength of the film lacking in most Japanese films.{{sfn|Maeda 2008}}
	Reviewer Takurō Yamaguchi gave the film an 85% rating, and found the treatment of its subject charming, and praised its quiet emotional impact and humour, the interweaving of northern Japan scenery with Hisaishi's cello score, and the film's Japanese spirit.{{sfn|Yamaguchi}} Media critic {{ill|ja|Sadao Yamane|山根貞男}} found a moving beauty in the dextrous hand movements Sasaki teaches Daigo for preparing bodies, and considers a prior reading of the original script to deepen the viewer's understanding of the action.{{sfn|Yamane|2012|p=352}} Mark Schilling of '']'' gave the film four stars out of five. He praised the acting, particularly that by Motoki, who he wrote had given "the performance of his long career", although he found that the film tended to idealize the encoffiners. He concluded that the film "makes a good case for the Japanese way of death."{{sfn|Schilling 2008, 'Okuribito'}}
	====International reviews====		====International reviews====
	] was highlighted by several reviewers.]]		]''{{'}} critic ] gave ''Departures'' a perfect four stars.]]
	Internationally, ''Departures'' has received mixed—trending positive—reviews. Ebert gave the film a perfect four stars,{{sfn|Ebert, Departures}} describing it as "rock-solid in its fundamentals".{{sfn|Ebert, Great Movies}} He highlighted the film's cinematography (which he judged as "polite" and with "the decorum of a mourner at a funeral"), music, and the casting of Yamazaki as Sasaki, and wrote that the end result was a film that "functions flawlessly" and was "excellent at achieving the universal ends of narrative".{{sfn|Ebert, Great Movies}} Derek Armstrong of ] gave the film four stars out of five, describing it as "a film of lyrical beauty" which is "bursting with tiny pleasures"; as with Ebert, he emphasised the film's cinematography, acting and music.{{sfn|Armstrong}} In a four-star review, Byrnes described the film as a "moving meditation on the transience of life" which showed "great humanity" and was at once understated and pushed emotions across. He concluded "it's a beautiful film but take two hankies."{{sfn|Byrnes 2009}} Howell gave the film three stars out of four, praising its acting and cinematography. He opined that ''Departures'' "quietly subverts aesthetic and emotional expectations" without ever losing its "high-minded intent".{{sfn|Howell 2009}}		Internationally, ''Departures'' has received mixed—mostly positive—reviews. Ebert gave the film a perfect four stars,{{sfn|Ebert, Departures}} describing it as "rock-solid in its fundamentals"{{sfn|Ebert, Great Movies}} and highlighting its cinematography, music, and the casting of Yamazaki as Sasaki. He found that the result "functions flawlessly" and is "excellent at achieving the universal ends of narrative".{{sfn|Ebert, Great Movies}} He eventually put the movie in his collection of '']''; the most recent film on the list. Derek Armstrong of ] gave the film four stars out of five, describing it as "a film of lyrical beauty" which is "bursting with tiny pleasures".{{sfn|Armstrong}} In a four-star review, Byrnes described the film as a "moving meditation on the transience of life" which showed "great humanity", concluding "it's a beautiful film but take two hankies."{{sfn|Byrnes 2009}} Howell gave the film three stars out of four, praising its acting and cinematography. He wrote that ''Departures'' "quietly subverts aesthetic and emotional expectations" without ever losing its "high-minded intent".{{sfn|Howell 2009}} In a three-and-a-half star review, Claudia Puig of '']'' described ''Departures'' as a "beautifully composed" film which, although predictable, was "emotional, poignant" and "profoundly affecting".{{sfn|Puig 2009}}
	In a three-and-a-half star review, Claudia Puig of '']'' described ''Departures'' as a "beautifully composed" film, with a gorgeous score and painterly visuals. Despite the work's predictability, she found it "emotional, poignant" and "profoundly affecting".{{sfn|Puig 2009}} ] of '']'' considered ''Departures'' to be a "moving, gently amusing" film, which the director had "fastidiously composed".{{Sfn|French 2009}} Sharkey found ''Departures'' an "emotionally wrenching trip with a quiet man", one which was well-cast with "actors who move lightly, gracefully" in the various settings.{{sfn|Sharkey 2009}} In '']'', ] gave the film a B−, considering it "tender and, at times, rather squishy" though certain to affect anyone who had lost a parent.{{sfn|Gleiberman 2009}} Barber found ''Departures'' to be "heartfelt, unpretentious, slyly funny", worth watching though ultimately predictable.{{sfn|Barber 2009}} Mike Scott gave the film three and a half stars out of four, finding that it was "a surprisingly uplifting examination of life and loss", with humour which perfectly complimented the "moving and meaningful story" story; he found, however, that ''Departures'' "crosses the line from sentimental to hokey" on occasion, and the tendency for characters to "mug for the camera" during humorous scenes.{{sfn|Mike Scott 2009}}
			] of '']'' considered ''Departures'' to be a "moving, gently amusing" film, which the director had "fastidiously composed".{{Sfn|French 2009}} Sharkey found it an "emotionally wrenching trip with a quiet man", one which was well cast with "actors who move lightly, gracefully" in the various settings.{{sfn|Sharkey 2009}} In '']'', ] gave the film a B−, considering it "tender and, at times, rather squishy", though certain to affect anyone who had lost a parent.{{sfn|Gleiberman 2009}} Barber found ''Departures'' to be "heartfelt, unpretentious, slyly funny", worth watching (though ultimately predictable).{{sfn|Barber 2009}} Mike Scott gave the film three and a half stars out of four, finding that it was "a surprisingly uplifting examination of life and loss", with humour which perfectly complemented the "moving and meaningful story", but lent itself to characters "mug for the camera".{{sfn|Mike Scott 2009}}
	Meanwhile, ] of '']'' described ''Departures'' as a "'']'' comedy" with wearisome "push-button crying", though he considered it saved by the quality of the acting, "stately" directing, and "dreamy" soundtrack.{{Sfn|Maher 2009}} Another mixed review was published in '']'', which described the film a "safe and emotionally generous crowd-pleaser", though not worthy of its Academy Award.{{sfn|The Daily Telegraph 2009}} ] wrote in '']'' that the film was "as polished as it is heavy-handed", predictable yet ready to break taboos, immersed in death yet incapable of escaping "the maddening Japanese taste for sentimentality".{{sfn|Kennicott 2009}} In '']'', Eddie Cockrell wrote that the film offered "fascinating glimpses" of the encoffining ceremony—scenes of which he described as the best part of the movie—as well as good music and acting. He wrote, however, that the conclusion could have been trimmed, and took issue with the director's emotional manipulation of the audience.{{sfn|Cockrell 2008}}
			Meanwhile, ] of '']'' described ''Departures'' as a "'']'' comedy" with wearisome "push-button crying", though he considered it saved by the quality of the acting, "stately" directing, and "dreamy" soundtrack.{{Sfn|Maher 2009}} Another mixed review was published in '']'', which described the film as a "safe and emotionally generous crowd-pleaser" that was not worthy of its Academy Award.{{sfn|The Daily Telegraph 2009}} ] wrote in '']'' that the film was "as polished as it is heavy-handed", predictable yet ready to break taboos, immersed in death yet incapable of escaping "the maddening Japanese taste for sentimentality".{{sfn|Kennicott 2009}} In '']'', Eddie Cockrell wrote that the film offered "fascinating glimpses" of the encoffining ceremony but should have had a much shorter runtime.{{sfn|Cockrell 2008}} Paatsch gave ''Departures'' three stars out of five, describing it as a "quaintly mournful flick" that "unfolds with a delicacy and precision that slowly captivates the viewer" but considering some scenes, such as the montage, "needlessly showy flourishes".{{sfn|Paatsch 2009}} Edward Porter of ''The Sunday Times'' wrote that the film's success at the Academy Awards could be blamed on "a case of the Academy favouring bland sentimentality".{{sfn|Potter 2009}}
	Paatsch gave ''Departures'' three stars out of five, describing it as a "quaintly mournful flick" that "unfolds with a delicacy and precision that slowly captivates the viewer" but considering some scenes, such as the montage, "needlessly showy flourishes".{{sfn|Paatsch 2009}} Edward Porter of ''The Sunday Times'' wrote a negative review in which he described ''Departures'' as a film with conventional themes but an "unusual occupation for the hero"; the film's success at the ] he credited to "a case of the Academy favouring bland sentimentality".{{sfn|Potter 2009}} Adams gave the film two out of four stars, describing it as having emotionally and visually arresting scenes of encoffinments and a "loving attention to the textures, tastes and behaviours of semi-rural Japan" but ultimately so predictable that "Forty-five minutes in, prepared a mental checklist of every turn that Daigo Kobayashi will face, then negotiate - and be danged if Takita doesn't deliver on every one".{{sfn|Adams 2009}}
	Phipps gave the film a C−, writing that though it featured "handsome shots of provincial life" and encoffining scenes with a "poetic quality", ultimately the film "drips from one overstated emotion to the next"; he concluded that audiences should not waste life "pat manipulations like ."{{sfn|Phipps 2009}} ] wrote in the '']'' that the film was "perfectly mediocre", predictable, and banal in its combination of humour and melodrama. Despite its sometimes touching moments, he considered ''Departures'' "interesting mainly as an index of the Academy’s hopelessly timid and conventional tastes".{{sfn|A. O. Scott 2009}}		'']''{{'s}} Keith Phipps gave ''Departures'' a C−, writing that though it featured "handsome shots of provincial life" and encoffining scenes with a "poetic quality", ultimately the film "drips from one overstated emotion to the next".{{sfn|Phipps 2009}} ] wrote in '']'' that the film was "perfectly mediocre", predictable, and banal in its combination of humour and melodrama. Despite its sometimes touching moments, he considered ''Departures'' "interesting mainly as an index of the Academy's hopelessly timid and conventional tastes".{{sfn|A. O. Scott 2009}} ] of '']'' gave a scathing review in which he denounced the script as "embarrassingly clunky and obvious", the acting as merely "adequate", and the film as but a "paean to the good-looking corpse".{{sfn|Rayns 2009}} Adams gave ''Departures'' two out of four stars, praising the emotionally and visually arresting scenes of encoffinments and "loving attention to the textures, tastes and behaviours of semi-rural Japan" but condemning the predictability of the plot; he wrote that "Forty-five minutes in, prepared a mental checklist of every turn that Daigo Kobayashi will face, then negotiate&nbsp;– and be danged if Takita doesn't deliver on every one".{{sfn|Adams 2009}}
	===Awards===		===Awards===
	{{Main|List of accolades received by Departures|l1=List of accolades received by ''Departures''}}		{{Main|List of accolades received by Departures (2008 film)|l1=List of accolades received by ''Departures'' (2008 film)}}
			At the ] ceremony held in February 2009, ''Departures'' dominated the competition. It received a total of thirteen nominations, winning ten, including ], ] (Koyama), ] (Takita), and ] (Motoki).<ref>{{harvnb|Kilday 2009, Regent}}; {{harvnb|Nippon Academy-shō Association, 2009}}.</ref> In the ] category, Hirosue lost to ] of '']'', while in the Outstanding Achievement in Art Direction category ''Departures''{{'s}} Tomio Ogawa lost to '']''{{'s}} Towako Kuwashima. Hisaishi, nominated for two Outstanding Achievement in Music awards, won for his scoring of Studio Ghibli's animated film '']''.{{sfn|Nippon Academy-shō Association, 2009}} In response to the wins, Motoki said "It feels as if everything miraculously came together in balance this time with Okuribito".{{efn|Original: {{lang|ja|今回の「おくりびと」っていうのはすべてのバランスが奇跡的につながっていったっていう感じがします。}} }}{{sfn|Nippon Academy-shō Association, 2009}}
	] was nominated for the ].]]
	At the ] ceremony, held in February 2009, ''Departures'' dominated the competition, receiving a total of thirteen nominations and winning ten, including ], ] (Kundō Koyama), ] (Takita), and ] (Motoki).<ref>{{harvnb|Kilday 2009, Regent}}; {{harvnb|Nippon Academy-shō Association}}</ref> In the ] category, Hirosue lost to ] of '']'', while in the Outstanding Achievement in Art Direction category ''Departures''{{'s}} Tomio Ogawa lost to '']''{{'s}} Towako Kuwashima. Hisaishi, nominated for two Outstanding Achievement in Music awards, won for his scoring of Studio Ghibli's animated film '']''.{{sfn|Nippon Academy-shō Association}} In response to the wins, Motoki said "It feels as if everything miraculously came together in balance this time with Okuribito".{{sfn|Nippon Academy-shō Association}}{{efn|Original: {{lang|ja|今回の「おくりびと」っていうのはすべてのバランスが奇跡的につながっていったっていう感じがします。}} }}
	''Departures'' was submitted to the ] as ] for the ] award. Although eleven previous Japanese films had won ] in other categories, such as ] or ], the as-yet unattained Best Foreign Language Film award was highly coveted in the Japanese film industry.{{efn|Before the category was formed in 1956, three Japanese films received ]: '']'' (]; 1951), '']'' (]; 1954), and '']'' (]; 1955) {{harv|MMPAJ}}.}} The Japanese-Soviet co-production '']'' (]; 1975) won the award, but it was submitted for the Soviet Union {{harv|Armstrong}}{{sfn|Sapia staff|2009}} ''Departures'' was not expected to win, owing to strong competition from the Israeli and French submissions (]'s '']'' and '']'', respectively), but was ultimately chosen in the February 2009 ceremony.{{sfn|Olsen 2009}} This was considered a surprise by several film critics,<ref>{{harvnb|Adams 2009}}; {{harvnb|Armstrong}}; {{harvnb|Howell 2009}}</ref> and ''The New York Times''{{'s}} ] termed ''Departures'' "The Film That Lost Your Oscars Pool for You".{{sfn|Itzkoff 2009}} Motoki also found the victory unexpected; he described himself as a "hanger-on who just observes the ceremony", awaiting the "wonderful" Israeli submission to be announced, who later regretted "not walk with more confidence" upon his arrival.{{sfn|Tourtellotte|Reynolds|2009}}{{efn|''Departures'' was not the only Japanese film to receive an Academy Award in the 2009 ceremony; ]'s '']'' took the ] {{harv|Tourtellotte|Reynolds|2009}}.}}		''Departures'' was submitted to the ] as ] for the ] award. Although eleven previous Japanese films had won ] in other categories, such as ] or ], the as-yet unattained Best Foreign Language Film award was highly coveted in the Japanese film industry.{{efn|name=A}}{{sfn|Sapia staff|2009}} ''Departures'' was not expected to win, owing to strong competition from the Israeli and French submissions (]'s '']'' and ]'s '']'', respectively), but was ultimately the victor at the February 2009 ceremony.{{sfn|Olsen 2009}} This was considered a surprise by several film critics,<ref>{{harvnb|Adams 2009}}; {{harvnb|Armstrong}}; {{harvnb|Howell 2009}}.</ref> and ''The New York Times''{{'s}} ] termed ''Departures'' "The Film That Lost Your Oscars Pool for You".{{sfn|Itzkoff 2009}} Motoki, who was expecting the "wonderful" Israeli submission to win, was also surprised; he described himself as a "hanger-on who just observes the ceremony", and regretted "not walk with more confidence" upon his arrival.{{efn|''Departures'' was not the only Japanese film to receive an Academy Award in the 2009 ceremony; ]'s '']'' took the ] {{harv|Tourtellotte|Reynolds|2009}}.}}{{sfn|Tourtellotte|Reynolds|2009}}
	''Departures'' received recognition at a variety of film festivals, including the Audience Choice Award at the 28th ], the Grand Prix des Amériques at the 32nd Montreal World Film Festival,{{sfn|Kilday 2009, Regent}} and Best Narrative Film the at the 20th ].{{sfn|Kilday 2009, Palm Springs}} Motoki was selected as best actor at several ceremonies, including at the ],{{sfn|Asian Film Awards}} the ],{{sfn|APSA, 2009 Winners}} ];{{sfn|Sports Nippon staff|2009}} he was also viewers' choice for best actor at the {{ill|zh|Golden Rooster and Hundred Flowers Film Festival|中国金鸡百花电影节}}.<ref>{{harvnb|Oricon staff|2008}}; {{harvnb|Ping and Ying 2008}}</ref> At the 29th ]s, ''Departures'' was selected as Best Asian Film over three Chinese films <!--(]'s '']'', ]'s '']'', and the ]–] co-production '']''),--> and ''Ponyo''.{{sfn|Hong Kong Film Awards Association}} Following the 21st ] ceremony, in which ''Departures'' won Best Film and Best Director, Takita expressed surprise at the film's awards, saying "I did not know how well my work would be accepted."{{sfn|Nikkan Sports, Best Film}}{{efn|Original: "「作品がどういうふうに受け入れられるか分からなかった」と。"}} By December 2009 the film had won 98 awards.{{sfn|Schilling 2009, A decade}}		''Departures'' received recognition at a variety of film festivals, including the Audience Choice Award at the 28th ], the Audience Choice Award at the 15th ], the Grand Prix des Amériques at the 32nd Montreal World Film Festival,{{sfn|Kilday 2009, Regent}} and Best Narrative Film at the 20th ].{{sfn|Kilday 2009, Palm Springs}} Motoki was selected as best actor at several ceremonies, including at the ],{{sfn|Asian Film Awards}} the ],{{sfn|APSA, 2009 Winners}} and the ];{{sfn|Sports Nippon staff|2009}} he was also viewers' choice for best actor at the ].<ref>{{harvnb|Oricon staff|2008}}; {{harvnb|Ping and Ying 2008}}.</ref> At the 29th ]s, ''Departures'' was selected as Best Asian Film, beating three Chinese films <!--(]'s '']'', ]'s '']'', and the ]–] co-production '']''),--> and ''Ponyo''.{{sfn|Hong Kong Film Awards Association}} Following the 21st ] ceremony, in which ''Departures'' won Best Film and Best Director, Takita expressed surprise at the film's awards, saying "I did not know how well my work would be accepted."{{efn|Original: "「作品がどういうふうに受け入れられるか分からなかった」と。"}}{{sfn|Nikkan Sports, Best Film}} By December 2009 the film had won 98 awards.{{sfn|Schilling 2009, A decade}}
	===Cultural impact===		===Impact===
			After the film's success, Sakata Location Box set up a hospitality service called ''Mukaebito''—a pun on the film's Japanese title indicating "one who greets or picks up" another, rather than "one who sends off". The service maintains shooting locations and provides maps of these locations for tourists.{{sfn|Hagiwara|2009|p = 9}} In 2009, Location Box opened the building that served as the NK Agent office to the public.{{sfn|Yomiuri Shimbun staff|2014}} For a fee, visitors could enter and view props from the film. Under a job creation program, between 2009 and 2013 the organization received ¥30 million from Yamagata Prefecture and ¥8 million from Sakata City for the building's maintenance and administration.{{sfn|Yamagata News Online staff|2014}} The site attracted nearly 120,000 visitors in 2009, though numbers quickly fell; in 2013 there were fewer than 9,000 visitors. Safety fears due to the building's age led to the Sakata municipal government ending the organization's lease, and the building was closed again at the end of March 2014. At the time, the City Tourism division was considering options, such as limiting visits to the first two floors.{{sfn|Yomiuri Shimbun staff|2014}} The building used as the Concerto café has been open to the public since 2009 as the Kaminoyama Concerto Museum,{{sfn|Yamagata Community Shinbun staff|2009}} and the Sakata Minato-za cinema has also been opened to tourists.{{sfn|Yamagata Television System staff|2009}} Takita's hometown of ], maintains a Film Resources Museum; staff have reported that at times over a hundred Takita fans visit per day.{{sfn|Takabe|Wakatsuki|2009|p = 3}}
	]
	The international success of ''Departures'' was big news in Japan; its win at the Academy Award was the first for a Japanese film since the Best Foreign Language Film category was created in 1956.{{sfn|Ide|2009|p=1}} The win led to a theatrical re-release in Japan and to Aoki's book selling out in stores—more than 230,000 copies.<ref>{{harvnb|Kyodo News Staff|2009}}; {{harvnb|Mullins|2010|p=103}}</ref>
			The film's success generated greater interest in encoffining and the ''{{transliteration|ja|nōkanshi}}''.{{sfn|Moore 2009}} Even the model of hearse driven in the film was merchandised: the Mitsuoka Limousine Type 2-04, a smaller, less expensive version of the film's vehicle, was put on the market on 24 February 2009. The manufacturer, ], is located in Takita's home prefecture of Toyama.<ref>{{harvnb|Sōma|2009|p=1}}; {{harvnb|Kyodo News Staff|2009}}.</ref> In 2013, Kouki Kimura, from a family of ''{{transliteration|ja|nōkanshi}}'', founded the Okuribito Academy together with nurse and entrepreneur Kei Takamaru. It offers training in encoffining, embalming, and related practices.{{sfn|Aera staff|2013}}
	After the film's success, Sakata Location Box set up a hospitality service called ''Mukaebito''—a pun on the film's Japanese title indicating "one who greets or picks up", another rather than "one who sends someone off". The service maintains shooting locations and provides maps of these locations for tourists.{{sfn|Hagiwara|2009|p=9}} In 2009, Location Box opened the building that served as the NK Agent office to the public.{{sfn|Yomiuri Shimbun staff|2014}} For a fee, visitors could enter and view props from the film on display. Under a job creation program, between 2009 and 2013 the organization received ¥30 million from Yamagata Prefecture and ¥8 million from Sakata City for the building's maintenance and administration.{{sfn|Yamagata News Online staff|2014}} The site attracted nearly 120,000 visitors in 2009, though numbers quickly fell; in 2013 there were fewer than 9,000 visitors. Safety fears due to the building's age led to the Sakata municipal government ending the organization's lease, and the building was closed again from the end of March 2014. At the time, the City Tourism division was considering options, such as limiting visits to the first two floors.{{sfn|Yomiuri Shimbun staff|2014}} The building used as the Concerto café has been open to the public since 2009 as the Kaminoyama Concerto Museum,{{sfn|Yamagata Community Shinbun staff|2009}} and the Sakata Minato-za movie theatre has also been opened to tourists.{{sfn|Yamagata Television System staff|2009}} Takita's hometown of ], maintains a Film Resources Museum; staff have reported that at times over a hundred Takita fans visit per day.{{sfn|Takabe|Wakatsuki|2009|p=3}}
			==See also==
	The film's success generated greater interest in encoffining and the ''{{transl|ja|nōkanshi}}''.{{sfn|Moore 2009}} Even the model of hearse driven in the film was merchandised: the Mitsuoka Limousine Type 2-04, a smaller, less expensive version of the film's vehicle, was put on the market 24 February 2009. The manufacturer, ], is located in Takita's hometown of Toyama.<ref>{{harvnb|Sōma|2009|p=1}}; {{harvnb|Kyodo News Staff|2009}}</ref> In 2013, Mitsuki Kimura, from a family of ''{{transl|ja|nōkanshi}}'', and nurse and entrepreneur Kei Takamaru founded the Okuribito Academy, which offers training in encoffining, embalming, and related areas.{{sfn|Aera staff|2013}}
			*]
			* ]
			* ]
	==Explanatory notes==		==Explanatory notes==
	{{notelist}}		{{Notelist}}
	==References==		==References==
	{{reflist|20em}}		{{Reflist|colwidth=20em}}
	==Works cited==		==Works cited==
			{{Refbegin|colwidth=40em}}
	{{Reflist}}
			* {{cite news |ref={{SfnRef|Adams 2009}} |title=What a nice funeral&nbsp;– and dull too |date=11 June 2009 |work=The Globe and Mail |location=Toronto |last=Adams |first=James |url=https://www.theglobeandmail.com/arts/departures/article786752/ |access-date=24 May 2014 }}
	{{refbegin|40em}}
	*{{Cite web		* {{cite news
			|author = ''Aera'' staff
	|title=おくりびと : ピアノ&チェロ・ピース /
			|title = Jakkan 31-sai no kōchō ga 'Okuribito Akademī' ni kaketa omoi
	|trans_title=Departures : Piano and Cello Pieces
			|script-title = ja:弱冠31歳の校長が「おくりびとアカデミー」に懸けた思い
	|publisher=WorldCat
			|trans-title = Youthful 31-year-old President Thoughts on Building the 'Okuribito Academy'
	|url=http://www.worldcat.org/title/okuribito/oclc/676569003&referer=brief_results
			|work = ]
	|accessdate=24 June 2014
			|language = ja
	|archivedate=24 June 2014
			|location = Osaka
	|archiveurl=http://www.webcitation.org/6QZMvhPcq
			|date = 30 September 2013
	|ref={{SfnRef|WorldCat, おくりびと : ピアノ&チェロ・ピース /}}
			|url = http://dot.asahi.com/aera/2013100200038.html
			|access-date = 20 June 2014
			|archive-url = https://web.archive.org/web/20131005075938/http://dot.asahi.com/aera/2013100200038.html
			|archive-date = 5 October 2013
	}}		}}
			* {{cite web |title=Departures (review) |first=Derek |last=Armstrong |work=Allmovie |url=http://www.allmovie.com/movie/departures-v468277/review |publisher=Rovi |archive-url=https://web.archive.org/web/20140523140314/http://www.allmovie.com/movie/departures-v468277/review |access-date=24 May 2014 |archive-date=23 May 2014 }}
	*{{Cite web
	|title=おくりびと : on record : オンキョウピアノトリオ(ピアノ伴奏/バイオリン・チェロパート譜付き)
	|trans_title=Departures on Record: Music for an Acoustic Trio
	|publisher=WorldCat
	|url=http://www.worldcat.org/title/okuribito-on-record/oclc/676204123&referer=brief_results
	|accessdate=24 June 2014
	|archivedate=24 June 2014
	|archiveurl=http://www.webcitation.org/6QZMrcMrz
	|ref={{SfnRef|WorldCat, おくりびと : on record}}
	}}
	* {{cite news |ref={{SfnRef|Adams 2009}} |title=What a nice funeral - and dull too |date=11 June 2009 |work=The Globe and Mail |location=Toronto |last=Adams |first=James |url=http://www.theglobeandmail.com/arts/departures/article786752/ |accessdate=24 May 2014 }}
	* {{cite news
	|author = Aera staff
	|title = 弱冠31歳の校長が「おくりびとアカデミー」に懸けた思い
	|trans_title = Youthful 31-year-old President Thoughts on Building the 'Okuribito Academy'
	|work = ]
	|date = 30 September 2013
	|accessdate = 20 June 2014
	|url = http://dot.asahi.com/aera/2013100200038.html
	|ref = harv}}
	* {{cite web|ref={{SfnRef|APSA, 2009 Winners}}|title=2009 Winners {{sic|Annou|ced|nolink=y}} |url=http://www.asiapacificscreenacademy.com/2009/11/2009-winners-annouced/ |author=Asia Pacific Screen Academy |publisher=Asia Pacific Screen Academy |date=26 November 2009 |archivedate=8 June 2014 |archiveurl=http://www.webcitation.org/6QAhjm8El |accessdate=8 June 2014 }}
	* {{cite web|ref={{sfnRef|Armstrong}} |title=Departures (review)|first=Derek |last=Armstrong |work=Allmovie |url=http://www.allmovie.com/movie/departures-v468277/review |publisher=Rovi |accessdate=24 May 2014 |archivedate=24 May 2014 }}
	* {{cite news		* {{cite news
	|author = Asahi Shimbun staff		|author = ''Asahi Shimbun'' staff
			|title = Bei Akademī-shō wo jushō sita, eiga ''Okuribito'' taibō no butaika eiga no sono ato wo egaku, aratana kandō no monogatari
	|title = 米国アカデミー賞を受賞した、映画「おくりびと」待望の舞台化映画のその後を描く、新たな感動の物語
			|script-title = ja:米国アカデミー賞を受賞した、映画「おくりびと」待望の舞台化映画のその後を描く、新たな感動の物語
	|trans_title = Academy Award-winning ''Departures'' Hoped-for Theatrical Adaptation Depicting What Happens After the Movie, A New Moving Tale
			|trans-title = Academy Award-winning ''Departures'' Hoped-for Theatrical Adaptation Depicting What Happens After the Movie, A New Moving Tale
	|publisher = ]
	|work = Doraku		|location = Osaka
	|date = 2 April 2010		|publisher = ]
	|accessdate = 20 June 2014		|language = ja
	|ref = harv}}		|work = Doraku
			|date = 2 April 2010
	* {{Cite web|author=Asian Film Awards|archiveurl=http://www.webcitation.org/6QDUgk9Xn |archivedate=10 June 2014 |ref={{SfnRef|Asian Film Awards}} |url=http://www.asianfilmawards.asia/2009/eng/nominations.php#b3 |title=3rd AFA Nominees and Winners | accessdate=4 June 2014 |date=2009 |publisher=Asian Film Awards}}
			|access-date = 20 June 2014
	* {{Cite news |ref={{sfnRef|Barber 2009}} |title=Departures (12A) |last=Barber |first=Nicholas |work=The Independent |url=http://www.independent.co.uk/arts-entertainment/films/reviews/departures-12a-1834873.html |archiveurl=http://www.webcitation.org/6PnqrSCNo |archivedate=24 May 2014 |date=6 December 2009 |accessdate=24 May 2014 |location=London}}
			|url = http://doraku.asahi.com/entertainment/stagenavi/info/100402.html
			|archive-date = 12 May 2013
			|archive-url = https://web.archive.org/web/20130512082501/http://doraku.asahi.com/entertainment/stagenavi/info/100402.html
			}}
			* {{cite web |ref={{SfnRef|APSA, 2009 Winners}} |title=2009 Winners Announced |url=http://www.asiapacificscreenacademy.com/2009/11/2009-winners-annouced/ |author=Asia Pacific Screen Academy |publisher=Asia Pacific Screen Academy |location=Brisbane |date=26 November 2009 |archive-date=29 November 2014 |archive-url=https://web.archive.org/web/20141129025046/http://www.asiapacificscreenacademy.com/2009/11/2009-winners-annouced/ |access-date=8 June 2014 }}
			* {{Cite web |location=Hong Kong |author=Asian Film Awards |archive-url=https://web.archive.org/web/20141006134807/http://www.asianfilmawards.asia/2009/eng/nominations.php |archive-date=6 October 2014 |ref={{SfnRef|Asian Film Awards}} |url=http://www.asianfilmawards.asia/2009/eng/nominations.php#b3 |title=3rd AFA Nominees and Winners |access-date=4 June 2014 |date=2009 |publisher=Asian Film Awards }}
			* {{Cite news |ref={{sfnRef|Barber 2009}} |title=Departures (12A) |last=Barber |first=Nicholas |work=The Independent |url=https://www.independent.co.uk/arts-entertainment/films/reviews/departures-12a-1834873.html |archive-url=https://web.archive.org/web/20140121200331/http://www.independent.co.uk/arts-entertainment/films/reviews/departures-12a-1834873.html |archive-date=21 January 2014 |date=6 December 2009 |access-date=24 May 2014 |location=London }}
			* {{cite web
			|author=''Billboard Japan'' staff
			|work=Billboard Japan
			|title=''Okuribito'' orijinaru ・ saundotorakku
			|script-title=ja:おくりびと オリジナル・サウンドトラック
			|trans-title=''Departures'' Original Soundtrack
			|language=ja
			|url=http://www.billboard-japan.com/goods/detail/229796
			|access-date=8 June 2014
			|archive-date=14 July 2014
			|archive-url=https://web.archive.org/web/20140714130757/http://www.billboard-japan.com/goods/detail/229796
			|ref={{SfnRef|Billboard Japan}}
			}}
			* {{cite web
			|last1=Blair
			|first1=Gavin J.
			|work=Hollywood Reporter
			|title='Departures' welcomed at Japan boxoffice
			|url=http://www.hollywoodreporter.com/news/departures-welcomed-japan-boxoffice-82244
			|date=13 April 2009
			|location=Los Angeles
			|access-date=15 June 2014
			|archive-date=19 August 2014
			|archive-url=https://web.archive.org/web/20140819140700/http://www.hollywoodreporter.com/news/departures-welcomed-japan-boxoffice-82244
			|ref={{SfnRef|Blair 2009, 'Departures' welcomed}}
			}}
			* {{cite web
			|last1=Blair
			|first1=Gavin J.
			|work=Hollywood Reporter
			|title=Yojiro Takita looks for foreign opportunities
			|url=http://www.hollywoodreporter.com/news/yojiro-takita-foreign-opportunities-82439
			|date=16 April 2009
			|location=Los Angeles
			|access-date=15 June 2014
			|archive-date=19 August 2014
			|archive-url=https://web.archive.org/web/20140819135823/http://www.hollywoodreporter.com/news/yojiro-takita-foreign-opportunities-82439
			|ref={{SfnRef|Blair 2009, Yojiro Takita}}
			}}
			* {{cite web
			|last1=Blair
			|first1=Gavin J.
			|work=Hollywood Reporter
			|title=Departures (Japan)
			|url=http://www.hollywoodreporter.com/news/departures-japan-77301
			|date=1 July 2009
			|location=Los Angeles
			|access-date=15 June 2014
			|archive-date=19 August 2014
			|archive-url=https://web.archive.org/web/20140819033137/http://www.hollywoodreporter.com/news/departures-japan-77301
			|ref={{SfnRef|Blair 2009, Departures (Japan)}}
			}}
			* {{cite news
			|last1=Blair
			|first1=Iain
			|title=Just a Minute With: Japan's Oscar-winning Yojiro Takita
			|url=http://uk.reuters.com/article/us-takita-idUKTRE54R21A20090528
			|work=]
			|date=28 May 2009
			|archive-date=15 June 2014
			|archive-url=https://web.archive.org/web/20140615093907/http://uk.reuters.com/article/2009/05/28/us-takita-idUKTRE54R21A20090528
			|access-date=15 June 2009
			|ref={{sfnRef|Blair 2009, Just a Minute}}
			|url-status=dead
			}}
	* {{cite web		* {{cite web
	|work = Billboard Japan		|title = Departures
			|url = http://www.boxofficemojo.com/movies/?page=main&id=departures.htm
	|title = おくりびと　オリジナル・サウンドトラック
			|website = Box Office Mojo
	|trans_title = Departures Original Soundtrack
			|access-date = 22 May 2014
	|language = Japanese
			|archive-date = 22 May 2014
	|url = http://www.billboard-japan.com/goods/detail/229796
			|archive-url = https://web.archive.org/web/20140522124023/http://www.boxofficemojo.com/movies/?page=main&id=departures.htm
	|accessdate = 8 June 2014
			|ref = {{SfnRef|''Box Office Mojo''}}
	|archivedate = 8 June 2014
			}}
	|archiveurl = http://www.webcitation.org/6QApE4jNa
			* {{cite web |author=British Board of Film Classification |location=London |ref={{SfnRef|British Board of Film Classification}} |title=Departures |url=http://www.bbfc.co.uk/AFF263665/ |publisher=] |date=5 October 2009 |archive-date=22 May 2014 |archive-url=https://web.archive.org/web/20140522180814/http://www.bbfc.co.uk/releases/departures-film |access-date=24 November 2012 }}
	|ref = {{SfnRef|Billboard Japan}} }}
			* {{cite web |ref={{sfnRef|Byrnes 2009}} |title=Departures |last=Byrnes |first=Paul |date=12 October 2009 |work=The Sydney Morning Herald |access-date=23 May 2014 |location=Sydney |archive-date=19 August 2014 |archive-url=https://web.archive.org/web/20140819102048/http://www.smh.com.au/news/entertainment/film/film-reviews/departures/2009/10/12/1255195735706.html?page=fullpage |url=http://www.smh.com.au/news/entertainment/film/film-reviews/departures/2009/10/12/1255195735706.html?page=fullpage#contentSwap1 }}
			* {{cite web
			|author = ''CinemaCafé.net'' staff
			|title = ''Okuribito'' imēji songu de AI×Hisaishi Jō ni yoru ishoku no coraborēshon ga jitsugen!
			|script-title = ja:『おくりびと』イメージソングでAI×久石譲による異色のコラボレーションが実現！
			|trans-title = Ai and Joe Hisaishi Realize Novel Collaboration with ''Departures'' Image Song
			|date = 31 July 2008
			|url = http://www.cinemacafe.net/article/2008/07/31/4377.html
			|access-date = 11 June 2014
			|archive-url = https://web.archive.org/web/20150604163332/http://www.cinemacafe.net/article/2008/07/31/4377.html
			|archive-date = 4 June 2015
			|language = ja
			|location = Tokyo
			|work = CinemaCafé.net
			}}
			* {{cite web
			|author = Cinema Topics Online staff
			|title = Hon'nendo eiga-shō souname!! ''Okuribito'' iyoiyo 3-gatsu 18-nichi (sui) DVD rirīsu!
			|script-title = ja:本年度映画賞総なめ!!『おくりびと』いよいよ３月18日（水）ＤＶＤリリース！
			|trans-title = This Year Swept the Film Awards!! ''Departures'' Finally to be Released 18 March!
			|work = Cinema Topics Online
			|date = 20 January 2009
			|language = ja
			|location = Tokyo
			|url = http://www.cinematopics.com/cinema/news/output.php?news_seq=7949
			|access-date = 3 June 2014
			|archive-url = https://web.archive.org/web/20141129015702/http://www.cinematopics.com/cinema/news/output.php?news_seq=7949
			|archive-date = 29 November 2014
			}}
			* {{cite news |ref={{sfnRef|Cockrell 2008}} |work=Variety |location=Los Angeles |date=2 September 2008 |url=https://variety.com/2008/film/reviews/departures-2-1200471064/ |title=Review: 'Departures' |access-date=24 May 2014 |first=Eddie |last=Cockrell }}
			* {{Cite news |ref={{sfnRef|The Daily Telegraph 2009}} |author=''The Daily Telegraph'' staff |title=Departures, review |work=The Daily Telegraph |url=https://www.telegraph.co.uk/culture/film/filmreviews/6719730/Departures-review.html |date=3 December 2009 |archive-date=29 January 2014 |location=London |access-date=24 May 2014 |archive-url=https://web.archive.org/web/20140129113107/http://www.telegraph.co.uk/culture/film/filmreviews/6719730/Departures-review.html }}
			* {{cite web
			|last = Danielsen
			|first = Shane
			|title = Oscar race a big deal for small countries
			|date = 4 December 2009
			|url = https://variety.com/2009/film/news/oscar-race-a-big-deal-for-small-countries-1118012258/
			|access-date = 14 June 2014
			|archive-url = https://web.archive.org/web/20141230214316/http://variety.com/2009/film/news/oscar-race-a-big-deal-for-small-countries-1118012258/
			|archive-date = 30 December 2014
			|work = Variety
			|location = Los Angeles
			|ref = {{sfnRef|Danielsen}}
			}}
			* {{Cite news |ref={{sfnRef|Ebert, Departures}} |last=Ebert |first=Roger |title=Departures |url=http://www.rogerebert.com/reviews/departures-2009 |archive-url=https://web.archive.org/web/20140525195926/http://www.rogerebert.com/reviews/departures-2009 |location=Chicago |archive-date=25 May 2014 |access-date=24 May 2014 |work=rogerebert.com |date=27 May 2014 }}
			* {{cite web |ref={{sfnRef|Ebert, Great Movies}} |last=Ebert |first=Roger |location=Chicago |archive-url=https://web.archive.org/web/20140703103806/http://www.rogerebert.com/reviews/great-movie-departures-2009 |archive-date=3 July 2014 |url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111205/REVIEWS08/111209995/1004 |title=Departures (2009) |work=rogerebert.com |date=5 December 2011 |access-date=5 December 2011 }}
			* {{cite web
			|author = ''Eiga Ranking Dot Com'' staff
			|title = ''Okuribito'' no shōryaku jōhō
			|script-title = ja:『おくりびと』の詳細情報
			|trans-title = More details on ''Departures''
			|language = ja
			|work = Eiga Ranking Dot Com
			|url = http://www.eiga-ranking.com/movie/10093.html
			|access-date = 23 May 2014
			|archive-url = https://web.archive.org/web/20150430152301/http://www.eiga-ranking.com/movie/10093.html
			|archive-date = 30 April 2015
			}}
			* {{cite web
			|last = Frater
			|first = Patrick
			|title = ContentFilm nabs 'Departures' rights
			|work = Variety
			|location = Los Angeles
			|date = 10 November 2008
			|url = https://variety.com/2008/film/news/contentfilm-nabs-departures-rights-1117995619/
			|access-date = 14 June 2014
			|archive-url = https://web.archive.org/web/20141230214113/http://variety.com/2008/film/news/contentfilm-nabs-departures-rights-1117995619/
			|archive-date = 30 December 2014
			|ref = {{sfnRef|Frater 2008}}
			}}
			* {{Cite news |ref={{SfnRef|French 2009}} |last=French |first=Philip |work=The Observer |date=6 December 2009 |title=Departures |url=https://www.theguardian.com/film/2009/dec/06/departures-japan-funeral-oscars |archive-url=https://web.archive.org/web/20131221123926/http://www.theguardian.com/film/2009/dec/06/departures-japan-funeral-oscars |archive-date=21 December 2013 |access-date=24 May 2014 |location=London }}
	* {{cite news		* {{cite news
	|last = Fukunaga|<!-- 福永聖二 -->		|last = Fukunaga<!-- 福永聖二 -->
	|first = Seiji		|first = Seiji
	|title = ユーモアのある死の物語		|title = Yūmoa no aru shi no monogatari
			|script-title=ja:ユーモアのある死の物語
	|trans_title = A Tale about Death with a Sense of Humour
			|trans-title = A Tale about Death with a Sense of Humour
	|page = 11		|page = 11
			|language = ja
	|newspaper = ]		|newspaper = ]
			|location = Tokyo
	|date = 12 September 2008		|date = 12 September 2008
	|edition = Evening		|edition = Evening
			}}
	|ref = harv}}
			* {{cite magazine |ref={{sfnRef|Gleiberman 2009}} |title=Departures |last=Gleiberman |first=Owen |magazine=Entertainment Weekly |location=New York |url=http://www.ew.com/ew/article/0,,20281266,00.html |archive-date=27 May 2014 |archive-url=https://web.archive.org/web/20140527230109/http://www.ew.com/ew/article/0,,20281266,00.html |access-date=24 May 2014 |date=27 May 2009 }}
	* {{cite web
	|last1 = Blair
	|first1 = Gavin J.
	|work = Hollywood Reporter
	|title = 'Departures' welcomed at Japan boxoffice
	|url = http://www.hollywoodreporter.com/news/departures-welcomed-japan-boxoffice-82244
	|date=13 April 2009
	|accessdate = 15 June 2014
	|archivedate = 15 June 2014
	|archiveurl = http://www.webcitation.org/6QLNfjKkl
	|ref = {{SfnRef|Blair 2009, 'Departures' welcomed}} }}
	* {{cite web		* {{cite web
	|last1 = Blair		|last = Gray
	|first1 = Gavin J.		|first = Jason
			|title = Departures tops Japanese box office following Oscar win
	|work = Hollywood Reporter
			|date = 27 February 2009
	|title = Yojiro Takita looks for foreign opportunities
			|location = London
	|url =http://www.hollywoodreporter.com/news/yojiro-takita-foreign-opportunities-82439
			|url = http://www.screendaily.com/departures-tops-japanese-box-office-following-oscar-win/4043460.article
	|date=16 April 2009
			|work = Screen Daily
	|accessdate = 15 June 2014
	|archivedate = 15 June 2014		|access-date = 3 June 2014
			|url-access = subscription
	|archiveurl = http://www.webcitation.org/6QLPL2KfJ
			}}
	|ref = {{SfnRef|Blair 2009, Yojiro Takita}} }}
	* {{cite web
	|last1 = Blair
	|first1 = Gavin J.
	|work = Hollywood Reporter
	|title = Departures (Japan)
	|url = http://www.hollywoodreporter.com/news/departures-japan-77301
	|date=1 July 2009
	|accessdate = 15 June 2014
	|archivedate = 15 June 2014
	|archiveurl = http://www.webcitation.org/6QLOOvIS5
	|ref = {{SfnRef|Blair 2009, Departures (Japan)}} }}
	* {{cite news
	|last1 = Blair
	|first1 = Iain
	|title = Just a Minute With: Japan's Oscar-winning Yojiro Takita
	|url = http://uk.reuters.com/article/2009/05/28/us-takita-idUKTRE54R21A20090528
	|work = ]
	|date = 28 May 2009
	|archivedate = 15 June 2014
	|archiveurl =http://www.webcitation.org/6QLWUTSAb
	|accessdate = 15 June 2009
	|ref = {{sfnRef|Blair 2009, Just a Minute}}}}
	* {{cite web
	|author = Box Office Mojo staff
	|title = Departures
	|url = http://www.boxofficemojo.com/movies/?page=main&id=departures.htm|publisher=Box Office Mojo
	|accessdate = 22 May 2014
	|archivedate = 22 May 2014
	|archiveurl = http://www.webcitation.org/6PkzZY0mo
	|ref = {{SfnRef|Box Office Mojo staff}} }}
	* {{cite web|ref={{SfnRef|British Board of Film Classification}} |title=Departures|url=http://www.bbfc.co.uk/AFF263665/|publisher=]|date=5 October 2009|archivedate=22 May 2014 |archiveurl=http://www.webcitation.org/6Pl0Kr94N |accessdate=24 November 2012}}
	* {{cite web|ref={{sfnRef|Byrnes 2009}}|title=Departures |location=Sydney |last=Byrnes |first=Paul |date=12 October 2009 |work=The Sydney Morning Herald |accessdate=23 May 2014 |archivedate=23 May 2014 |archiveurl=http://www.webcitation.org/6PmrUIz77 |url=http://www.smh.com.au/news/entertainment/film/film-reviews/departures/2009/10/12/1255195735706.html?page=fullpage#contentSwap1 }}
	* {{cite web
	|author = CinemaCafé.net staff
	|title = 『おくりびと』イメージソングでAI×久石譲による異色のコラボレーションが実現！
	|trans_title = Ai and Joe Hisaishi Realize Novel Collaboration with ''Departures'' Image Song
	|url = http://www.cinemacafe.net/article/2008/07/31/4377.html
	|date = 31 July 2008
	|accessdate = 11 June 2014
	|work = CinemaCafé.net
	|ref = harv}}
	* {{cite web
	|author = Cinema Topics Online staff
	|title = 本年度映画賞総なめ!!『おくりびと』いよいよ３月18日（水）ＤＶＤリリース！
	|trans_title = This Year Swept the Film Awards!! ''Departures'' Finally to be Released 18 March!
	|work = Cinema Topics Online
	|url = http://www.cinematopics.com/cinema/news/output.php?news_seq=7949
	|date = 20 January 2009
	|accessdate = 3 June 2014
	|ref = harv}}
	* {{cite news |ref={{sfnRef|Cockrell 2008}} |work=Variety |location=Los Angeles |date=2 September 2008 |url=http://variety.com/2008/film/reviews/departures-2-1200471064/ |title=Review: 'Departures' |accessdate=24 May 2014 |first=Eddie | last=Cockrell }}
	* {{Cite news |ref={{sfnRef|The Daily Telegraph 2009}} |author=''The Daily Telegraph'' staff |title=Departures, review |work=The Daily Telegraph |url=http://www.telegraph.co.uk/culture/film/filmreviews/6719730/Departures-review.html |date=3 December 2009 |archivedate=24 May 2014|location=London |accessdate=24 May 2014 |archiveurl=http://www.webcitation.org/6Pnqfg3eB }}
	* {{cite web
	|last = Danielsen
	|first = Shane
	|title = Oscar race a big deal for small countries
	|url = https://variety.com/2009/film/news/oscar-race-a-big-deal-for-small-countries-1118012258/
	|work = Variety
	|date = 4 December 2009
	|accessdate = 14 June 2014
	|ref = {{sfnRef|Danielsen}}}}
	* {{Cite news |ref={{sfnRef|Ebert, Departures}}|last=Ebert |first=Roger |title=Departures |url=http://www.rogerebert.com/reviews/departures-2009 |archiveurl=http://www.webcitation.org/6Pno2xaDM |archivedate=24 May 2014 |accessdate=24 May 2014|work=rogerebert.com |date=27 May 2014 }}
	* {{cite web|ref={{sfnRef|Ebert, Great Movies}}|last=Ebert |first=Roger |archiveurl=http://www.webcitation.org/6Pl7GSbJX |archivedate=22 May 2014 |url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111205/REVIEWS08/111209995/1004|title=Departures (2009) | work=rogerebert.com|date=5 December 2011|accessdate=5 December 2011}}
	* {{cite web
	|author = Eiga Ranking Dot Com staff
	|title = 『おくりびと』の詳細情報
	|language = Japanese
	|work = Eiga Ranking Dot Com
	|url = http://www.eiga-ranking.com/movie/10093.html
	|accessdate = 23 May 2014
	|ref = harv}}
	* {{cite web
	|last = Frater
	|first = Patrick
	|title = ContentFilm nabs 'Departures' rights
	|url = https://variety.com/2008/film/news/contentfilm-nabs-departures-rights-1117995619/
	|work = Variety
	|date = 10 November 2008
	|accessdate = 14 June 2014
	|ref = {{sfnRef|Frater 2008}}}}
	* {{Cite news |ref={{SfnRef|French 2009}} |last=French |first=Philip |work=The Observer |date=6 December 2009 |title=Departures |url=http://www.theguardian.com/film/2009/dec/06/departures-japan-funeral-oscars |archiveurl=http://www.webcitation.org/6PnrIFFMK |archivedate=24 May 2014 |accessdate=24 May 2014 |location=London}}
	* {{cite news |ref={{sfnRef|Gleiberman 2009}}|title=Departures |last=Gleiberman |first=Owen |work=Entertainment Weekly |location=New York |url=http://www.ew.com/ew/article/0,,20281266,00.html |archivedate=24 May 2014 |archiveurl=http://www.webcitation.org/6PnvhKfwU |accessdate=24 May 2014 |date=27 May 2009}}
	* {{cite web
	|last = Gray
	|first = Jason
	|title = Departures tops Japanese box office following Oscar win
	|date = 27 February 2009
	|url = http://www.screendaily.com/departures-tops-japanese-box-office-following-oscar-win/4043460.article
	|work = Screen Daily
	|accessdate = 3 June 2014
	|ref = harv}} {{subscription required}}
	* {{cite journal		* {{cite journal
	|last = Hagiwara		|last = Hagiwara
	|first = Kichirō		|first = Kichirō
			|title = Eiga ''Okuribito'' soshite ''Mukaebito'' toshite
	|title = 映画「おくりびと」そして「むかえびと」として
			|script-title = ja:映画「おくりびと」そして「むかえびと」として
	|trans_title = The Film ''Departures'', then as ''Pick-ups''
			|trans-title = The Film ''Departures'', then as ''Pick-ups''
	|pages = 8–9
	|journal = Future Sight		|pages = 8–9
	|date = Spring 2009		|language = ja
	|issue = 44		|location = Yamagata
			|journal = Future Sight
	|url = http://www.f-ric.co.jp/fs/200904/08-09.pdf
			|date = Spring 2009
	|accessdate = 10 June 2014
	|ref = harv}}		|issue = 44
			|url = http://www.f-ric.co.jp/fs/200904/08-09.pdf
			|access-date = 10 June 2014
			|archive-date = 14 July 2014
			|archive-url = https://web.archive.org/web/20140714170445/http://www.f-ric.co.jp/fs/200904/08-09.pdf
			|url-status = dead
			}}
	* {{cite web		* {{cite web
	|last = Hale		|last = Hale
	|first = Mike		|first = Mike
	|title = 'Departures': The Film That Lost Your Oscars Pool for You		|title = From 'Pink Films' to Oscar Gold
	|url = http://www.nytimes.com/2009/05/17/movies/17hale.html?_r=0		|url = https://www.nytimes.com/2009/05/17/movies/17hale.html?_r=1&
	|work = The New York Times		|work = The New York Times
	|date = 15 May 2009		|date = 15 May 2009
			|location = New York
	|accessdate = 15 June 2014
	|archivedate=15 June 2014		|access-date = 15 June 2014
			|archive-date = 22 August 2023
	|archiveurl=http://www.webcitation.org/6QLSjPuVc
			|archive-url = https://web.archive.org/web/20230822184023/https://www.nytimes.com/2009/05/17/movies/17hale.html?_r=1&
	|ref = {{sfnRef|Hale 2009}}}}
			|ref = {{sfnRef|Hale 2009}}
	* {{cite journal
			}}
	|last = Handa
			* {{cite journal
	|first = Takuya
			|last=Handa
	|title = ソール・ベロー序論 : 死生観と『おくりびと』を中心に(I)
			|first=Takuya
	|trans_title = Saul Bellow's View of Life and Death with Special Reference to Okuribito (1)
			|title=ソール・ベロー序論: 死生観と『おくりびと』を中心に(I)
	|language = Japanese
			|trans-title=Saul Bellow's View of Life and Death with Special Reference to Okuribito (1)
	|journal = Fukuoka University Review of Literature & Humanities
			|language=ja
	|volume = 42
			|journal=Fukuoka University Review of Literature & Humanities
	|issue = 1
			|volume=42
	|pages = 57–82
			|issue=1
	|year = June 2010
			|pages=57–82
	|publisher = ]
			|date=June 2010
	|url = http://www.adm.fukuoka-u.ac.jp/fu844/home2/Ronso/Jinbun/L42-1/L4201_0057.pdf
			|location=Fukuoka
	|format = pdf
			|publisher=]
	|issn = 0285-2764
			|url=http://www.adm.fukuoka-u.ac.jp/fu844/home2/Ronso/Jinbun/L42-1/L4201_0057.pdf
	|ref = harv}}
			|issn=0285-2764
	* {{Cite web |ref={{sfnRef|Hong Kong Film Awards Association}} |author=Hong Kong Film Awards Association staff |title=第29屆香港電影金像獎得獎名單 |trans_title=List of Winners at the 29th Hong Kong Film Awards |language=Chinese |publisher=Hong Kong Film Awards Association |url=http://www.hkfaa.com/winnerlist29.html |accessdate=8 June 2014 |archivedate=8 June 2014 |archiveurl=http://www.webcitation.org/6QAjK85ux}}
			|archive-url=https://web.archive.org/web/20140605051854/http://www.adm.fukuoka-u.ac.jp/fu844/home2/Ronso/Jinbun/L42-1/L4201_0057.pdf
			|archive-date=5 June 2014
			}}
			* {{Cite web |ref={{sfnRef|Hong Kong Film Awards Association}} |author=Hong Kong Film Awards Association staff |script-title=zh:第29屆香港電影金像獎得獎名單 |title=Dì 29 jiè xiānggǎng diànyǐng jīn xiàng jiǎng dé jiǎng míngdān |trans-title=List of Winners at the 29th Hong Kong Film Awards |location=Hong Kong |language=zh |publisher=Hong Kong Film Awards Association |url=http://www.hkfaa.com/winnerlist29.html |access-date=8 June 2014 |archive-date=15 May 2014 |archive-url=https://web.archive.org/web/20140515081759/http://www.hkfaa.com/winnerlist29.html }}
	* {{cite book		* {{cite book
	|last = Hosaka|<!-- 保坂 隆 -->		|last = Hosaka<!-- 保坂 隆 -->
	|first = Takashi		|first = Takashi
	|title = 医者が考える「見事」な最期の迎え方		|title = Isha ga kangaeru "migoto"-na saiki no mukaekata
			|script-title = ja:医者が考える「見事」な最期の迎え方
	|trans_title = What a Doctor Thinks is a "Splendid" Way of Facing End-of-Life
			|trans-title = What a Doctor Thinks is a "Splendid" Way of Facing End-of-Life
	|url = http://books.google.com/books?id=j9BxAgAAQBAJ
			|url = https://books.google.com/books?id=j9BxAgAAQBAJ
	|year = 2014
			|year = 2014
	|publisher = Kakukawa Shoten
	|language = Japanese		|isbn = 978-4-04-110667-9
	|ref = harv}}		|location = Tokyo
			|publisher = Kakukawa Shoten
	* {{cite news|ref={{SfnRef|Howell 2009}} |title=Departures: Sentimental journey |work=Toronto Star |location=Toronto |url=http://www.thestar.com/news/2009/06/12/departures_sentimental_journey.html |last=Howell |first=Peter| accessdate=24 May 2014 |archivedate=24 May 2014 |archiveurl= http://www.webcitation.org/6PnlSS3kv |date=12 June 2009 }}
			|language = ja
			}}
			* {{cite news |ref={{SfnRef|Howell 2009}} |title=Departures: Sentimental journey |work=Toronto Star |location=Toronto |url=https://www.thestar.com/news/2009/06/12/departures_sentimental_journey.html |last=Howell |first=Peter |access-date=24 May 2014 |archive-date=25 May 2014 |archive-url=https://web.archive.org/web/20140525213908/http://www.thestar.com/news/2009/06/12/departures_sentimental_journey.html |date=12 June 2009 }}
	* {{cite web		* {{cite web
	|last = Ide		|last = Ide
	|first = Kenji		|first = Kenji
			|title = Dai 38-kai eiga ''Okuribito'' to nihonjin no shiseikan
	|title = 第３８回　映画「おくりびと」と日本人の死生観
			|script-title = ja:第３８回 映画「おくりびと」と日本人の死生観
	|trans_title = No. 38: The Film "Departures" and Japanese Views of Life and Death
			|trans-title = No. 38: The Film "Departures" and Japanese Views of Life and Death
	|language = Japanese
			|language = ja
	|url = http://japanese.china.org.cn/jp/ide/2009-03/03/content_17364403.htm
			|url = http://japanese.china.org.cn/jp/ide/2009-03/03/content_17364403.htm
	|work = ]
	|date = 3 March 2009		|work = ]
	|accessdate = 3 June 2014		|date = 3 March 2009
			|access-date = 3 June 2014
	|ref = harv}}
			}}
	* {{cite web		* {{cite web
	|last = Itzkoff		|last = Itzkoff
	|first = Dave		|first = Dave
	|title = 'Departures': The Film That Lost Your Oscars Pool for You		|title = 'Departures': The Film That Lost Your Oscars Pool for You
	|url = http://artsbeat.blogs.nytimes.com/2009/02/23/departures-the-film-that-lost-your-oscars-pool-for-you/?_php=true&_type=blogs&_r=0		|url = http://artsbeat.blogs.nytimes.com/2009/02/23/departures-the-film-that-lost-your-oscars-pool-for-you/?_php=true&_type=blogs&_php=true&_type=blogs&_r=1
	|work = The New York Times		|work = The New York Times
	|date = 23 February 2009		|date = 23 February 2009
	|accessdate = 15 June 2014		|access-date = 15 June 2014
	|archivedate=15 June 2014		|archive-date = 15 June 2014
			|location = New York
	|archiveurl=http://www.webcitation.org/6QLSLHPy0
			|archive-url = https://archive.today/20140615151413/http://artsbeat.blogs.nytimes.com/2009/02/23/departures-the-film-that-lost-your-oscars-pool-for-you/?_php=true&_type=blogs&_php=true&_type=blogs&_r=1
	|ref = {{sfnRef|Itzkoff 2009}}}}
			|ref = {{sfnRef|Itzkoff 2009}}
			}}
	* {{cite news		* {{cite news
	|last = Iwata		|last = Iwata
	|first = Mayuko		|first = Mayuko
	|title = 死の風景は清く美しい		|title = Shi no fūkei ha kiyoku utsukushii
			|script-title=ja:死の風景は清く美しい
	|trans_title = Scenes of Death are Pure Beauty
			|trans-title = Scenes of Death are Pure Beauty
	|page = 8		|page = 8
			|language = ja
			|location = Nagoya
	|newspaper = ]		|newspaper = ]
	|date = 12 September 2008		|date = 12 September 2008
	|edition = Evening		|edition = Evening
			}}
	|ref = harv}}
	* {{cite news		* {{cite news
	|last = Katsuta|<!-- 勝田友巳 -->		|last = Katsuta <!-- 勝田友巳 -->
	|first = Tomomi		|first = Tomomi
	|title = イキガミ/おくりびと		|title = ''Ikigami''/''Okuribito''
			|script-title=ja:イキガミ/おくりびと
	|trans_title = ''Ikigami''/''Okuribito''
			|trans-title = ''Ikigami''/''Okuribito''
	|page = 11		|page = 11
			|location = Tokyo
			|language = ja
	|newspaper = ]		|newspaper = ]
	|date = 12 September 2008		|date = 12 September 2008
	|edition = Evening		|edition = Evening
			}}
	|ref = harv}}
	* {{cite news |ref={{sfnRef|Kennicott 2009}} |archivedate=24 May 2014 |title=Departures |last=Kennicott |first=Philip |url=http://www.washingtonpost.com/gog/movies/departures,1156551.html |archiveurl=http://www.webcitation.org/6PnshpBgy |accessdate=24 May 2014 |location=Washington, D.C. |work=The Washington Post }}		* {{cite news |ref={{sfnRef|Kennicott 2009}} |archive-date=6 June 2014 |title=Departures |last=Kennicott |first=Philip |url=https://www.washingtonpost.com/gog/movies/departures,1156551.html |archive-url=https://web.archive.org/web/20140606204713/http://www.washingtonpost.com/gog/movies/departures,1156551.html |access-date=24 May 2014 |location=Washington, D.C. |newspaper=The Washington Post }}
	* {{cite web|ref={{sfnRef|Kilday 2009, Palm Springs}} |title=Palm Springs picks 'Departures' |last=Kilday |first=Gregg |url=http://www.hollywoodreporter.com/news/palm-springs-picks-departures-77861 |work=Hollywood Reporter |date=19 January 2009 |archivedate=4 June 2014 |accessdate=4 June 2014 |archiveurl=http://www.webcitation.org/6Q58LdBgZ}}		* {{cite web |ref={{sfnRef|Kilday 2009, Palm Springs}} |location=Los Angeles |title=Palm Springs picks 'Departures' |last=Kilday |first=Gregg |url=http://www.hollywoodreporter.com/news/palm-springs-picks-departures-77861 |work=Hollywood Reporter |date=19 January 2009 |archive-date=11 June 2014 |access-date=4 June 2014 |archive-url=https://web.archive.org/web/20140611010258/http://www.hollywoodreporter.com/news/palm-springs-picks-departures-77861 }}
	* {{cite web|ref={{SfnRef|Kilday 2009, Regent}} |url=http://www.hollywoodreporter.com/news/regent-acquires-departures-rights-77146 |work=Hollywood Reporter |first=Gregg |last=Kilday |date=5 May 2009 |title=Regent acquires 'Departures' rights |accessdate=4 June 2014 |archiveurl=http://www.webcitation.org/6Q4TfOwTr |archivedate=4 June 2014}}		* {{cite web |ref={{SfnRef|Kilday 2009, Regent}} |location=Los Angeles |url=http://www.hollywoodreporter.com/news/regent-acquires-departures-rights-77146 |work=Hollywood Reporter |first=Gregg |last=Kilday |date=5 May 2009 |title=Regent acquires 'Departures' rights |access-date=4 June 2014 |archive-url=https://web.archive.org/web/20140611010315/http://www.hollywoodreporter.com/news/regent-acquires-departures-rights-77146 |archive-date=11 June 2014 }}
	* {{cite journal		* {{cite journal
	|last = Kim		|last = Kim
	|first = Hyunchul		|first = Hyunchul
	|title = The Purification Process of Death: Mortuary Rites in a Japanese Rural Town		|title = The Purification Process of Death: Mortuary Rites in a Japanese Rural Town
	|url = http://nirc.nanzan-u.ac.jp/nfile/4216		|url = http://nirc.nanzan-u.ac.jp/nfile/4216
	|year = 2002		|year = 2002
	|volume = 71		|volume = 71
	|issue = 2		|issue = 2
			|location = Aichi
	|journal = Asian Ethnology
	|ref = harv}}		|journal = Asian Ethnology
			|access-date = 3 June 2014
	* {{cite journal
			|archive-date = 15 June 2013
	|author = Kinema Junpo editorial staff |<!-- 文＝編集部 -->
			|archive-url = https://web.archive.org/web/20130615062654/http://nirc.nanzan-u.ac.jp/nfile/4216
	|title = オスカー受賞 監督滝田洋二郎
			|url-status = dead
	|trans_title = Oscar Award Winner Director Yōjirō Takita
			}}
	|journal = ]
	|pages = 56–59
	|issue = 1529
	|date = 1 April 2009
	|ref = harv}}
	* {{cite web		* {{cite web
	|title = おくりびと		|title = ''Okuribito''
			|script-title = ja:おくりびと
	|trans_title = Departures
			|trans-title = Departures
	|language = Japanese
	|work = ]		|language = ja
	|url = http://www.kinenote.com/main/public/cinema/detail.aspx?cinema_id=39331		|work = ]
			|url = http://www.kinenote.com/main/public/cinema/detail.aspx?cinema_id=39331
			|archive-url = https://web.archive.org/web/20190710080534/http://www.kinenote.com/main/public/cinema/detail.aspx?cinema_id=39331&key_search=%E3%81%8A%E3%81%8F%E3%82%8A%E3%81%B3%E3%81%A8
	|archiveurl = http://www.webcitation.org/6Px4IS4O0
	|archivedate = 30 May 2014		|archive-date = 10 July 2019
	|accessdate = 30 May 2014		|access-date = 30 May 2014
			|location = Tokyo
	|author=''Kinema Junpo'' staff
	|ref = {{SfnRef|Kinema Junpo}} }}		|author = ''Kinema Junpo'' staff
			|ref = {{SfnRef|Kinema Junpo}}
	* {{cite news
			}}
	|author = Kyodo News Staff
			* {{cite web |last=Kobayashi |first=Chiho |ref={{SfnRef|Nikkan Sports, Best Film}} |script-title=ja:作品賞＆監督賞ー「おくりびと」滝田洋二郎監督 |title=Sakuhin-shō & kantoku-shō—''Okuribito'' Takita Yōjirō kantoku |location=Tokyo |trans-title=Best Film and Best Director Awards—''Departures'' Director Yōjirō Takita |language=ja |work=Nikkan Sports |date=4 December 2008 |url=http://www.nikkansports.com/entertainment/cinema/ns-cinema/2008/report/report01-1.html |access-date=8 June 2014 |archive-url=https://web.archive.org/web/20140714221824/http://www.nikkansports.com/entertainment/cinema/ns-cinema/2008/report/report01-1.html |archive-date=14 July 2014 }}
	|title = 光岡自動車の霊きゅう車　「おくりぐるま」を発売
			* {{cite news
	|trans_title = Mitsuoka Motors' ''Okuribito'' Hearse to be Put on Sale
	|work = ]		|author=Kyodo News Staff
			|title=Mitsuoka Jidōsha no reikyūsha "Okuriguruma" wo hatsubai
	|date = 24 February 2009
			|script-title=ja:光岡自動車の霊きゅう車 「おくりぐるま」を発売
	|accessdate = 3 June 2014
			|trans-title=Mitsuoka Motors' ''Okuribito'' Hearse to be Put on Sale
	|ref = harv}}
			|publisher=]
			|work=47new
			|language=ja
			|location=Tokyo
			|date=24 February 2009
			|access-date=3 June 2014
			|url=http://www.47news.jp/CN/200902/CN2009022401000413.html
			|archive-url=https://web.archive.org/web/20090227075051/http://www.47news.jp/CN/200902/CN2009022401000413.html
			|archive-date=27 February 2009
			}}
	* {{cite web		* {{cite web
	|last = Mathews		|last = Maeda
	|first = Jeremy		|first = Yūichi
	|title = Departures		|title = ''Okuribito'' 90-ten (100-ten manten-chū)
			|script-title = ja:『おくりびと』90点（100点満点中）
	|work = DVD Talk
			|trans-title = ''Departures'' 90/100
	|publisher = Internet Brands
			|work = 超映画批評
	|archivedate = 23 May 2014
			|language = ja
	|url = http://www.dvdtalk.com/reviews/42146/departures/
	|archiveurl = http://www.webcitation.org/6Pmj00szO		|url = http://movie.maeda-y.com/movie/01175.htm
	|date = 12 January 2010		|access-date = 1 June 2014
	|accessdate = 23 May 2014		|date = 13 September 2008
	|ref = harv}}		|ref = {{SfnRef|Maeda 2008}}
			}}
	* {{cite web
			* {{cite web |ref={{sfnRef|Maher 2009}} |last=Maher |title=Departures |location=London |first=Kevin |url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6941189.ece |work=The Times |date=6 December 2009 |access-date=23 May 2014 |url-access=subscription }}{{dead link|date=September 2024|bot=medic}}{{cbignore|bot=medic}}
	|last = Maeda
			* {{cite web
	|first = Yūichi
			|last=Mathews
	|title = 『おくりびと』90点（100点満点中）
			|first=Jeremy
	|trans_title = ''Departures'' 90/100
			|title=Departures
	|work = 超映画批評
			|work=DVD Talk
	|url = http://movie.maeda-y.com/movie/01175.htm
			|publisher=Internet Brands
	|accessdate = 1 June 2014
	|date=13 September 2008		|archive-date=25 May 2014
			|url=http://www.dvdtalk.com/reviews/42146/departures/
	|ref = {{SfnRef|Maeda 2008}} }}
			|archive-url=https://web.archive.org/web/20140525195949/http://www.dvdtalk.com/reviews/42146/departures/
	* {{cite web |ref={{sfnRef|Maher 2009}} |last=Maher |title=Departures |location=London |first=Kevin |url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6941189.ece |work=The Times |date=6 December 2009 | accessdate=23 May 2014}} {{subscription required}}
			|date=12 January 2010
	* {{cite web| ref={{sfnRef|Metacritic}} |url=http://www.metacritic.com/movie/departures |title=Departures Reviews |work=Metacritic |accessdate=12 May 2014 |archiveurl=http://www.webcitation.org/6PnnBmKdP |archivedate=24 May 2014 }}
			|access-date=23 May 2014
	* {{cite web|ref={{sfnRef|MMPAJ}} |author=Motion Picture Producers Association of Japan staff |url=http://www.eiren.org/academy/data.html|title=出品作品・受賞歴 |trans_title=Exhibition of Works and Awards|language=Japanese|publisher=Motion Picture Producers Association of Japan|accessdate=22 May 2014}}
			}}
			* {{cite web |author=''Metacritic'' staff |ref={{sfnRef|Metacritic}} |url=http://www.metacritic.com/movie/departures |title=Departures Reviews |work=Metacritic |access-date=12 May 2014 |archive-url=https://web.archive.org/web/20150122201159/http://www.metacritic.com/movie/departures |archive-date=22 January 2015 }}
			* {{cite web|ref={{sfnRef|MMPAJ}}|author=Motion Picture Producers Association of Japan staff|url=http://www.eiren.org/academy/data.html|script-title=ja:出品作品・受賞歴|title=Shuppin sakuhin ・ jushō-reki|trans-title=Exhibition of Works and Awards|language=ja|publisher=Motion Picture Producers Association of Japan|location=Tokyo|access-date=22 May 2014}}
			* {{cite journal
			|last=Mullins
			|first=Mark R.
			|title=From ''Departures'' to ''Yasukuni Shrine'': Caring for the Dead and the Bereaved in Contemporary Japanese Society
			|journal=Japanese Religions
			|year=2010
			|pages=101–112
			|volume=35
			|issue=1 & 2
			|location=Kyoto
			|publisher=NCC Center for the Study of Japanese Religions
			|url=http://japanese-religions.jp/publications/assets/JR35%201&2_Mullins.pdf
			|access-date=3 June 2014
			|archive-url=https://web.archive.org/web/20141126102948/http://japanese-religions.jp/publications/assets/JR35%201%262_Mullins.pdf
			|archive-date=26 November 2014
			}}
			* {{cite web
			|last=Moore
			|first=Roger
			|title=The dirty little secret of Oscar winner 'Departures'
			|url=http://www.latimes.com/entertainment/orl-departures-director-yojiro-takita-052909-story.html
			|work=Los Angeles Times
			|date=10 July 2009
			|access-date=15 June 2014
			|location=Los Angeles
			|archive-date=19 August 2014
			|archive-url=https://web.archive.org/web/20140819114052/http://www.latimes.com/entertainment/orl-departures-director-yojiro-takita-052909-story.html
			|ref={{sfnRef|Moore 2009}}
			}}
			* {{Cite web |ref={{SfnRef|Nippon Academy-shō Association, 2000}} |author=Nippon Academy-shō Association staff |publisher=Nippon Academy-shō Association |url=http://www.japan-academy-prize.jp/prizes/?t=23 |location=Tokyo |language=ja |script-title=ja:第23回日本アカデミー賞優秀作品 |title=Dai 23-kai Nihon Akademī-shō yūshū sakuhin |trans-title=23rd Japan Academy Prize |archive-url=https://web.archive.org/web/20141031043947/http://www.japan-academy-prize.jp/prizes/?t=23 |archive-date=31 October 2014 |access-date=21 August 2014 }}
			* {{Cite web |ref={{SfnRef|Nippon Academy-shō Association, 2009}} |author=Nippon Academy-shō Association staff |publisher=Nippon Academy-shō Association |url=http://www.japan-academy-prize.jp/prizes/?t=32 |location=Tokyo |language=ja |script-title=ja:第32回日本アカデミー賞優秀作品 |title=Dai 32-kai Nihon Akademī-shō yūshū sakuhin |trans-title=32nd Japan Academy Prize |archive-url=https://web.archive.org/web/20140714155924/http://www.japan-academy-prize.jp/prizes/?t=32 |archive-date=14 July 2014 |access-date=4 June 2014 }}
	* {{cite journal		* {{cite journal
	|last = Mullins		|last = Nomura <!-- 野村正昭 -->
	|first = Mark R.
	|title = From ''Departures'' to ''Yasukuni Shrine'': Caring for the Dead and the Bereaved in Contemporary Japanese Society
	|journal = Japanese Religions
	|url = http://japanese-religions.jp/publications/assets/JR35%201&2_Mullins.pdf
	|year = 2010
	|pages = 101–112
	|volume = 35
	|issue = 1 & 2 |<!-- this appears to be how they do every issue -->
	|accessdate = 3 June 2014
	|publisher = NCC Center for the Study of Japanese Religions
	|ref = {{SfnRef|Mullins|2010}} }}
	* {{cite web |last=Kobayashi |first=Chiho |ref={{SfnRef|Nikkan Sports, Best Film}} |title=作品賞＆監督賞ー「おくりびと」滝田洋二郎監督記事を印刷する |trans_title=Best Film and Best Director Award for 'Departures' Director Yōjirō Takita |language=Japanese |work=Nikkan Sports |date=4 December 2008 |url=http://www.nikkansports.com/entertainment/cinema/ns-cinema/2008/report/report01-1.html |accessdate=8 June 2014 |archiveurl=http://www.webcitation.org/6QAkrVtTq |archivedate=8 June 2014}}
	* {{cite web
	|last = Moore
	|first = Roger
	|title = The dirty little secret of Oscar winner 'Departures'
	|url =http://www.latimes.com/entertainment/orl-departures-director-yojiro-takita-052909-story.html
	|work = Los Angeles Times
	|date = 10 July 2009
	|accessdate = 15 June 2014
	|archivedate = 15 June 2014
	|archiveurl=http://www.webcitation.org/6QLREPrhR
	|ref = {{sfnRef|Moore 2009}}}}
	* {{cite news
	|last = Nakao
	|first = Chigusa
	|title = 広末涼子
	|trans_title = Ryōko Hirosue
	|work = Woman OnLine
	|publisher = ]
	|date = 27 February 2012
	|accessdate = 24 June 2014
	|url = http://wol.nikkeibp.co.jp/article/magazine/20120227/118582/
	|ref = harv}}
	* {{Cite web|ref={{SfnRef|Nippon Academy-shō Association}} |author=Nippon Academy-shō Association staff |publisher=Nippon Academy-shō Association |url=http://www.japan-academy-prize.jp/prizes/?t=32 |language=Japanese|title=第32回日本アカデミー賞優秀作品 |trans_title=32nd Japan Academy Prize |archiveurl=http://www.webcitation.org/6Q4TU1rvS|archivedate=4 June 2014 |accessdate=4 June 2014}}
	* {{cite journal
	|last = Nomura|<!-- 野村正昭 -->
	|first = Masaaki		|first = Masaaki
	|title = インタービュー：滝田洋二郎		|title = Intābyū: Takita Yōjirō
			|script-title=ja:インタービュー：滝田洋二郎
	|trans_title = Interview: Yōjirō Takita
			|trans-title = Interview: Yōjirō Takita
	|journal = Kinema Junpō		|journal = Kinema Junpō
			|language = ja
			|location = Tokyo
	|pages = 58–61		|pages = 58–61
	|issue = 1516		|issue = 1516
	|date = 15 September 2008		|date = 15 September 2008
			}}
	|ref = harv}}
			* {{cite journal
			|last=Okuyama
			|first=Yoshiko
			|title=Shinto and Buddhist Metaphors in Departures
			|url=http://digitalcommons.unomaha.edu/cgi/viewcontent.cgi?article=1065&context=jrf
			|journal=Journal of Religion and Film
			|date=April 2013
			|volume=17
			|issue=1
			|article-number=39
			|issn=1092-1311
			|publisher=University of Nebraska Omaha
			|location=Omaha
			|access-date=5 October 2022
			}}
	* {{cite web		* {{cite web
	|last = Olsen		|last = Olsen
	|first = Mark		|first = Mark
	|title = Yojiro Takita's 'Departures' has a surprising journey		|title = Yojiro Takita's 'Departures' has a surprising journey
	|url =http://www.latimes.com/entertainment/la-et-oscarforeignfilm23-2009feb23-story.html		|url = http://www.latimes.com/entertainment/la-et-oscarforeignfilm23-2009feb23-story.html
	|work = Los Angeles Times		|work = Los Angeles Times
	|date = 24 May 2009		|date = 24 May 2009
	|accessdate = 15 June 2014		|access-date = 15 June 2014
			|archive-date = 13 September 2015
	|archivedate = 15 June 2014
			|url-status = live
	|archiveurl=http://www.webcitation.org/6QLQMRviS
			|archive-url = https://web.archive.org/web/20150913183543/http://articles.latimes.com/2009/may/24/entertainment/ca-indie24
	|ref = {{sfnRef|Olsen 2009}}}}
			|ref = {{sfnRef|Olsen 2009}}
			}}
	* {{cite web		* {{cite web
	|author = Oricon staff		|author = Oricon staff
			|title = Motoki Masahiro, jibun ga okurareru koro "ōnen no meisaku" to natta ''Okuribito'' mitai
	|title = 本木雅弘、自分がおくられる頃"往年の名作"となった「おくりびと」観たい
			|script-title = ja:本木雅弘、自分がおくられる頃"往年の名作"となった「おくりびと」観たい
	|trans_title = Masahiro Motoki, When it is His Time to Depart, he Wants to See his "Old Classic" ''Departures''
			|trans-title = Masahiro Motoki, When it is His Time to Depart, he Wants to See his "Old Classic" ''Departures''
	|work = ]
	|url = http://www.oricon.co.jp/news/58100/full/		|date = 14 September 2008
			|work = ]
	|accessdate = 8 June 2014
	|date = 14 September 2008		|language = ja
	|ref = harv}}		|location = Tokyo
			|url = http://www.oricon.co.jp/news/58100/full/
	* {{Cite news|ref={{sfnRef|Paatsch 2009}}|title=Film review - Departures |last=Paatsch |first=Leigh |work=Herald Sun |url=http://www.heraldsun.com.au/entertainment/movies/film-review-departures/story-e6frf8r6-1225786762071 |archiveurl=http://www.webcitation.org/6PmsZJF6j |date=14 October 2009 |archivedate=23 May 2014 |location=Melbourne|accessdate=23 May 2014}}
			|access-date = 8 June 2014
			|archive-url = https://web.archive.org/web/20141202080100/http://www.oricon.co.jp/news/58100/full/
			|archive-date = 2 December 2014
			}}
			* {{Cite news |ref={{sfnRef|Paatsch 2009}} |title=Film review&nbsp;– Departures |last=Paatsch |first=Leigh |work=Herald Sun |url=http://www.heraldsun.com.au/entertainment/movies/film-review-departures/story-e6frf8r6-1225786762071 |archive-url=https://archive.today/20140523152527/http://www.heraldsun.com.au/entertainment/movies/film-review-departures/story-e6frf8r6-1225786762071 |date=14 October 2009 |archive-date=23 May 2014 |location=Melbourne |access-date=23 May 2014 }}
	* {{cite book		* {{cite book
	|last = Pharr		|last = Pharr
	|first = Susan J.		|first = Susan J.
	|chapter = Burakumin Protest: The Incident at Yōka High School		|chapter = Burakumin Protest: The Incident at Yōka High School
	|pages = 133–145		|pages = 133–145
	|title = Race, Ethnicity and Migration in Modern Japan: Indigenous and Colonial Others		|title = Race, Ethnicity and Migration in Modern Japan: Indigenous and Colonial Others
	|editor-first = Michael		|editor-first = Michael
	|editor-last = Weiner		|editor-last = Weiner
	|isbn = 978-0-415-20856-7		|isbn = 978-0-415-20856-7
			|location = London
	|url = http://books.google.co.id/books?id=NxGTRiFdNQgC&pg=PA133
			|chapter-url = https://books.google.com/books?id=NxGTRiFdNQgC&pg=PA133
	|year = 2006
	|publisher = Routledge		|year = 2006
	|ref = harv}}		|publisher = Routledge
			}}
	*{{cite web|ref={{sfnRef|Phipps 2009}}|work=The A.V. Club |url=http://www.avclub.com/review/departures-28528 |date=28 May 2009 |last=Phipps |first=Keith |archiveurl=http://www.webcitation.org/6PmsmJZGG |title=Departures |archivedate=23 May 2014 |accessdate=23 May 2014}}
			*{{cite web |ref={{sfnRef|Phipps 2009}} |work=The A.V. Club |location=Chicago |url=http://www.avclub.com/review/departures-28528 |date=28 May 2009 |last=Phipps |first=Keith |archive-url=https://web.archive.org/web/20140524004202/http://www.avclub.com/review/departures-28528 |title=Departures |archive-date=24 May 2014 |access-date=23 May 2014 }}
	*{{cite web |ref={{sfnRef|Ping and Ying 2008}} |url=http://news.163.com/08/0913/07/4LN1H0MC000120GU.html |language=Chinese |title=金鸡国际影展举行颁奖典礼 |first1=Yan |last1=Ping |first2=Bai|last2=Ying |trans_title=Rooster International Film Festival Awards Ceremony Held |date=13 September 2008 |publisher=NetEase |work=163.com |accessdate=10 June 2014 |archivedate=10 June 2014 |archiveurl=http://www.webcitation.org/6QDmSW2oj |archivedate=4 June 2014}}
			*{{cite web |ref={{sfnRef|Ping and Ying 2008}} |url=http://news.163.com/08/0913/07/4LN1H0MC000120GU.html |script-title=zh:金鸡国际影展举行颁奖典礼 |title=Jīnjī guójì yǐngzhǎn jǔxíng bānjiǎng diǎnlǐ |first1=Yan |last1=Ping |first2=Bai |last2=Ying |location=Guangzhou |language=zh |trans-title=Rooster International Film Festival Awards Ceremony Held |date=13 September 2008 |publisher=NetEase |work=163.com |access-date=10 June 2014 |archive-url=https://web.archive.org/web/20140820100655/http://news.163.com/08/0913/07/4LN1H0MC000120GU.html |archive-date=20 August 2014 }}
	* {{cite book		* {{cite book
	|last = Plutschow		|last = Plutschow
	|first = Herbert E.		|first = Herbert E.
	|title = Chaos and Cosmos: Ritual in Early and Medieval Japanese Literature		|title = Chaos and Cosmos: Ritual in Early and Medieval Japanese Literature
	|url = http://books.google.co.id/books?id=pwfUl-sHReYC		|url = https://books.google.com/books?id=pwfUl-sHReYC
	|publisher = E. J. Brill		|publisher = E. J. Brill
	|year = 1990		|year = 1990
			|location = Leiden
	|isbn = 978-90-04-08628-9
	|ref = harv}}		|isbn = 978-90-04-08628-9
			}}
	* {{cite news|ref={{sfnRef|Potter 2009}} |title=Departures |location=London |last=Porter |first=Edward |url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6939393.ece |work=The Times |date=5 December 2009 | accessdate=23 May 2014 }} {{subscription required}}
	* {{cite news |ref={{sfnRef|Puig 2009}} |last=Puig |first=Claudia |title='Departures' is an emotional, poignant trip |date=31 May 2009 |location=Tysons Corner, Virginia |work=USA Today |url=http://usatoday30.usatoday.com/life/movies/reviews/2009-05-28-departures_N.htm |archivedate=24 May 2014 |accessdate= 24 May 2014 |archiveurl=http://www.webcitation.org/6PnvI1D0F }}		* {{cite news |ref={{sfnRef|Potter 2009}} |title=Departures |location=London |last=Porter |first=Edward |url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6939393.ece |work=The Times |date=5 December 2009 |access-date=23 May 2014 |url-access=subscription }}{{dead link|date=September 2024|bot=medic}}{{cbignore|bot=medic}}
			* {{cite news |ref={{sfnRef|Puig 2009}} |last=Puig |first=Claudia |title='Departures' is an emotional, poignant trip |date=31 May 2009 |location=Tysons Corner, Virginia |work=USA Today |url=http://usatoday30.usatoday.com/life/movies/reviews/2009-05-28-departures_N.htm |archive-date=13 November 2014 |access-date=24 May 2014 |archive-url=https://web.archive.org/web/20141113092128/http://usatoday30.usatoday.com/life/movies/reviews/2009-05-28-departures_N.htm }}
	* {{cite web|ref={{SfnRef|Releases}} |work=Allmovie |publisher=Rovi|url=http://www.allmovie.com/movie/departures-v468277/releases |title=Departures{{!}}Releases |archiveurl=http://www.webcitation.org/6PlA0facB |accessdate=22 May 2014 |archivedate=22 May 2014}}
			* {{cite news |ref={{sfnRef|Rayns 2009}} |last=Rayns |first=Tony |title=Departures review |date=May–June 2009 |location=New York |work=Film Comment |url=http://www.filmcomment.com/article/departures-review |archive-date=29 November 2014 |access-date=24 July 2014 |archive-url=https://web.archive.org/web/20141129040850/http://www.filmcomment.com/article/departures-review }}
	* {{cite web|author=Rotten Tomatoes staff |ref={{sfnRef|Rotten Tomatoes}} |url=http://www.rottentomatoes.com/m/10010675-departures/|title=Okuribito (Departures)&nbsp;– Rotten Tomatoes|publisher=Rotten Tomatoes|accessdate=24 July 2011}}
			* {{cite web|author=''Rotten Tomatoes'' staff|ref={{sfnRef|Rotten Tomatoes}}|url=http://www.rottentomatoes.com/m/10010675-departures/|title=Okuribito (Departures)&nbsp;– Rotten Tomatoes|date=29 May 2009|publisher=Rotten Tomatoes|access-date=16 June 2020}}
			* {{cite web |author=''Rovi'' staff |ref={{SfnRef|Releases}} |work=Allmovie |publisher=Rovi |url=http://www.allmovie.com/movie/departures-v468277/releases |title=Departures{{!}}Releases |archive-url=https://web.archive.org/web/20140523060000/http://www.allmovie.com/movie/departures-v468277/releases |access-date=22 May 2014 |archive-date=23 May 2014 }}
	* {{cite web		* {{cite web
	|author = Sapia staff		|author = ''Sapia'' staff
			|title = ''Okuribito'' to ''Tsumiki no Ie'' ga Akademī-shō wo dōji ni jushō
	|title = 「おくりびと」と「つみきのいえ」がアカデミー賞を同時に受賞
			|script-title = ja:「おくりびと」と「つみきのいえ」がアカデミー賞を同時に受賞
	|trans_title = ''Departures''and ''La Maison en Petits Cubes'' Both Win Academy Awards
			|trans-title = ''Departures'' and ''La Maison en Petits Cubes'' Win Academy Awards at the Same Time
	|work = Sapia
			|work = Sapia
	|publisher = SAPIX小学部
	|language = Japanese		|publisher = SAPIX小学部
	|date = April 2009		|language = ja
			|url = http://www.n-seiryo.ac.jp/~usui/koneko/2009/inochi.html
	|accessdate = 3 June 2014
	|ref = harv}}		|location = Tokyo
			|date = April 2009
	* {{cite web
			|access-date = 3 June 2014
	|last = Schilling
			|archive-url = https://web.archive.org/web/20090228062620/http://www.n-seiryo.ac.jp/~usui/koneko/2009/inochi.html
	|first = Mark
			|archive-date = 28 February 2009
	|title = 'Okuribito'
			}}
	|url = http://www.japantimes.co.jp/culture/2008/09/05/culture/okuribito/#.U51d-yifjHw
			* {{cite web
	|work = The Japan Times
			|last=Schilling
	|date = 5 September 2008
			|first=Mark
	|accessdate = 15 June 2014
			|title=Okuribito
	|archivedate = 15 June 2014
			|url=http://www.japantimes.co.jp/culture/2008/09/05/culture/okuribito/
	|archiveurl = http://www.webcitation.org/6QLTLOd3p
			|work=The Japan Times
	|ref = {{sfnRef|Schilling 2008, 'Okuribito'}}}}
			|date=5 September 2008
	* {{cite web
			|location=Tokyo/Osaka
	|last = Schilling
			|access-date=15 June 2014
	|first = Mark
			|archive-date=14 July 2014
	|title = Funereal flick out to reap Japan an Oscar
	|url = http://www.japantimes.co.jp/culture/2009/02/20/films/funereal-flick-out-to-reap-japan-an-oscar/#.U51d3CifjHw		|archive-url=https://web.archive.org/web/20140714173320/http://www.japantimes.co.jp/culture/2008/09/05/culture/okuribito/
			|ref={{sfnRef|Schilling 2008, 'Okuribito'}}
	|work = The Japan Times
			}}
	|date = 20 February 2009
			* {{cite web
	|accessdate = 15 June 2014
			|last=Schilling
	|archivedate = 15 June 2014
			|first=Mark
	|archiveurl = http://www.webcitation.org/6QLTy9Y8t
			|title=Funereal flick out to reap Japan an Oscar
	|ref = {{sfnRef|Schilling 2009, Funereal flick}}}}
			|url=http://www.japantimes.co.jp/culture/2009/02/20/films/funereal-flick-out-to-reap-japan-an-oscar/
	* {{cite web
			|work=The Japan Times
	|last = Schilling
			|date=20 February 2009
	|first = Mark
			|location=Tokyo/Osaka
	|title = Producer casts wider net
			|access-date=15 June 2014
	|url = http://variety.com/2009/film/features/producer-casts-wider-net-1118007879/
			|archive-date=14 July 2014
	|work = Variety
			|archive-url=https://web.archive.org/web/20140714230356/http://www.japantimes.co.jp/culture/2009/02/20/films/funereal-flick-out-to-reap-japan-an-oscar/
	|date = 28 August 2009
			|ref={{sfnRef|Schilling 2009, Funereal flick}}
	|accessdate = 14 June 2014
			}}
	|ref = {{sfnRef|Schilling 2009, Producer}}}}
	* {{cite web		* {{cite web
	|last = Schilling		|last = Schilling
	|first = Mark		|first = Mark
	|title = A decade when Japan’s cinema stood up to Hollywood menace		|title = Producer casts wider net
			|url = https://variety.com/2009/film/features/producer-casts-wider-net-1118007879/
	|url =http://www.japantimes.co.jp/culture/2009/12/11/films/a-decade-when-japans-cinema-stood-up-to-hollywood-menace/#.U51hLCifjHw
	|work = The Japan Times		|work = Variety
	|date = 11 December 2009		|location = Los Angeles
	|accessdate = 15 June 2014		|date = 28 August 2009
	|archivedate = 15 June 2014		|access-date = 14 June 2014
			|archive-url = https://web.archive.org/web/20141225224726/http://variety.com/2009/film/features/producer-casts-wider-net-1118007879/
	|archiveurl = http://www.webcitation.org/6QLVM4mJm
			|archive-date = 25 December 2014
	|ref = {{sfnRef|Schilling 2009, A decade}}}}
			|ref = {{sfnRef|Schilling 2009, Producer}}
	*{{Cite news |title=Making a Living Handling Death |ref={{SfnRef|A. O. Scott 2009}} |last=Scott |first=A. O. |work=The New York Times |location=New York |url=http://www.nytimes.com/2009/05/29/movies/29depa.html?ref=movies&_r=1& |archiveurl=http://www.webcitation.org/6Pns9udlf |archivedate=24 May 2014 |date=28 May 2009 }}
			}}
	*{{Cite news|location=New Orleans |ref={{SfnRef|Mike Scott 2009}} |title=Oscar-winning 'Departures' a surprisingly uplifting examination of loss |url=http://www.nola.com/movies/index.ssf/2009/08/oscarwinning_departures_a_surp.html |date=28 August 2009|archivedate=23 May 2014 |archiveurl=http://www.webcitation.org/6PmeHLbz2 |last=Scott |first=Mike |accessdate=23 May 2014 |work=The Times-Picayune}}
			* {{cite web
	*{{Cite web|title='Departures' is an emotionally wrenching trip with a quiet man |work=Los Angeles Times |location=Los Angeles |url=http://articles.latimes.com/2009/may/29/entertainment/et-departures29 |date=29 May 2009 |archivedate=23 May 2014 |archiveurl= http://www.webcitation.org/6PmcgRdgl |first=Betsy |last=Sharkey|ref={{SfnRef|Sharkey 2009}}}}
			|last=Schilling
			|first=Mark
			|title=A decade when Japan's cinema stood up to Hollywood menace
			|url=http://www.japantimes.co.jp/culture/2009/12/11/films/a-decade-when-japans-cinema-stood-up-to-hollywood-menace/
			|work=The Japan Times
			|location=Tokyo/Osaka
			|date=11 December 2009
			|access-date=15 June 2014
			|archive-date=14 July 2014
			|archive-url=https://web.archive.org/web/20140714173428/http://www.japantimes.co.jp/culture/2009/12/11/films/a-decade-when-japans-cinema-stood-up-to-hollywood-menace/
			|ref={{sfnRef|Schilling 2009, A decade}}
			}}
			*{{Cite news |title=Making a Living Handling Death |ref={{SfnRef|A. O. Scott 2009}} |last=Scott |first=A. O. |work=The New York Times |location=New York |url=https://www.nytimes.com/2009/05/29/movies/29depa.html?ref=movies&_r=2& |archive-url=https://web.archive.org/web/20220608081029/http://www.nytimes.com/2009/05/29/movies/29depa.html?ref=movies&_r=2& |archive-date=8 June 2022 |date=28 May 2009 }}
			*{{Cite news |location=New Orleans |ref={{SfnRef|Mike Scott 2009}} |title=Oscar-winning 'Departures' a surprisingly uplifting examination of loss |url=http://www.nola.com/movies/index.ssf/2009/08/oscarwinning_departures_a_surp.html |date=28 August 2009 |archive-date=23 May 2014 |archive-url=https://web.archive.org/web/20140523231517/http://www.nola.com/movies/index.ssf/2009/08/oscarwinning_departures_a_surp.html |last=Scott |first=Mike |access-date=23 May 2014 |work=The Times-Picayune }}
			*{{Cite web |title='Departures' is an emotionally wrenching trip with a quiet man |work=Los Angeles Times |url=https://www.latimes.com/archives/la-xpm-2009-may-29-et-departures29-story.html |date=29 May 2009 |access-date=23 May 2014 |archive-date=23 May 2014 |archive-url=https://web.archive.org/web/20140523231038/http://articles.latimes.com/2009/may/29/entertainment/et-departures29 |location=Los Angeles |first=Betsy |last=Sharkey |url-status=live |ref={{SfnRef|Sharkey 2009}} }}
			* {{cite journal
			|last = Shinohara
			|first = Yūko
			|title = Eiga ''Okuribito'' no eigo jimaku ni okeru ibunka yōso (nihon-teki yūhyōsei) no hon'yaku hōryaku ni kansuru kōsaku
			|script-title = ja:映画『おくりびと』の英語字幕における異文化要素(日本的有標性)の翻訳方略に関する考察
			|trans-title = A Study of Strategies for Translating Culture-Specific Items in the English Subtitles of the film Departures
			|journal = 翻訳研究への招待 Invitation to Translation Studies
			|publisher = ]
			|language = ja
			|location = Tokyo
			|issue = 9
			|year = 2013
			|pages = 81–98
			|url = http://honyakukenkyu.sakura.ne.jp/shotai_vol9/06_vol9-Shinohara.pdf
			|issn = 2185-5307
			|archive-url = https://web.archive.org/web/20140524004242/http://honyakukenkyu.sakura.ne.jp/shotai_vol9/06_vol9-Shinohara.pdf
			|archive-date = 24 May 2014
			}}
	* {{cite journal		* {{cite journal
	|last = Shioda |<!-- 塩田時敏 -->		|last = Shioda <!-- 塩田時敏 -->
	|first = Tokitoshi		|first = Tokitoshi
	|title = 傑作		|title = Kessaku
			|script-title=ja:傑作
	|trans_title = Masterpiece
			|trans-title = Masterpiece
	|journal = Kinema Junpō		|journal = Kinema Junpō
			|language = ja
			|location = Tokyo
	|pages = 62–63		|pages = 62–63
	|issue = 1516		|issue = 1516
	|date = 15 September 2008		|date = 15 September 2008
			}}
	|ref = harv}}
	* {{cite journal
	|last = Shinohara
	|first = Yūko
	|title = 映画『おくりびと』の英語字幕における異文化要素(日本的有標性)の翻訳方略に関する考察
	|trans_title = A Study of Strategies for Translating Culture-Specific Items in the English Subtitles of the film Departures
	|journal = 翻訳研究への招待 Invitation to Translation Studies
	|publisher = ]
	|issue = 9
	|year = 2013
	|pages = 81–98
	|url = http://honyakukenkyu.sakura.ne.jp/shotai_vol9/06_vol9-Shinohara.pdf
	|format = PDF
	|issn = 2185-5307
	|ref = harv}}
	* {{cite web		* {{cite web
	|last = Sōma		|last = Sōma
	|first = Manabu		|first = Manabu
			|title = Kiseki no "banguruwase"!? ''Okuribito'' ni naze gaikokugo eiga-shō ni kagayaita no ka!
	|title = 奇跡の"番狂わせ"!?　『おくりびと』はなぜ外国語映画賞に輝いたのか!
			|script-title = ja:奇跡の"番狂わせ"!? 『おくりびと』はなぜ外国語映画賞に輝いたのか!
	|work = ]
			|trans-title = Miraculous 'upset'!? ''Departures'' is crowned the best foreign-language film of the year!
	|url = http://trendy.nikkeibp.co.jp/article/pickup/20090226/1024072/
	|date = 26 February 2009		|language = ja
			|location = Tokyo
	|accessdate = 2 June 2014
	|ref = harv}}		|work = ]
			|url = http://trendy.nikkeibp.co.jp/article/pickup/20090226/1024072/
			|date = 26 February 2009
			|access-date = 2 June 2014
			|archive-url = https://web.archive.org/web/20141129014916/http://trendy.nikkeibp.co.jp/article/pickup/20090226/1024072/
			|archive-date = 29 November 2014
			}}
	* {{cite book		* {{cite book
	|editor-last = Sosnoski		|editor-last = Sosnoski
	|editor-first = Daniel		|editor-first = Daniel
	|title = Introduction to Japanese Culture		|title = Introduction to Japanese Culture
	|publisher = Tuttle		|publisher = Tuttle
	|year = 1996		|year = 1996
			|location = Rutland/Tokyo
	|url = http://books.google.co.id/books?id=T2blg2Kw_zcC
			|url = https://archive.org/details/introductiontoja00dani
	|isbn = 978-0-8048-2056-1
	|ref = harv}}		|url-access = registration
			|isbn = 978-0-8048-2056-1
			}}
	* {{cite news		* {{cite news
	|author = Sports Nippon staff		|author = ''Sports Nippon'' staff
			|title = Motoki Masahiro shuen ''Okuribito'' Burū Ribon-shō ni kettei
	|title = 本木雅弘主演「おくりびと」ブルーリボン賞に決定
			|script-title = ja:本木雅弘主演「おくりびと」ブルーリボン賞に決定
	|trans_title = Masahiro Motoki, star of ''Departures'', chosen for Blue Ribbon Award
			|trans-title = Masahiro Motoki, star of ''Departures'', chosen for Blue Ribbon Award
	|url = http://www.sponichi.co.jp/osaka/ente/200901/15/ente216671.html
			|url = http://www.sponichi.co.jp/osaka/ente/200901/15/ente216671.html
	|work = ]
	|date = 15 January 2009		|work = ]
	|accessdate = 8 June 2014		|language = ja
	|ref = harv}}		|location = Tokyo
			|date = 15 January 2009
			|access-date = 8 June 2014
			|archive-url = https://web.archive.org/web/20141129015713/http://www.sponichi.co.jp/osaka/ente/200901/15/ente216671.html
			|archive-date = 29 November 2014
			}}
			* {{cite web
			|last=Spurlin
			|first=Thomas
			|title=Departures
			|work=DVD Talk
			|publisher=Internet Brands
			|archive-date=25 May 2014
			|url=http://www.dvdtalk.com/reviews/40453/departures/
			|archive-url=https://web.archive.org/web/20140525200544/http://www.dvdtalk.com/reviews/40453/departures/
			|date=24 January 2010
			|access-date=23 May 2014
			}}
	* {{cite web		* {{cite web
	|last = Spurlin		|last = Suzuki
	|first = Thomas		|first = {{not a typo|Yosiaki}}
			|title = Takita Yōjirō, Suo Masayuki: Pinku eiga kara sudatta mei-kantoku ōi
	|title = Departures
			|script-title = ja:滝田洋二郎、周防正行他 ピンク映画から巣立った名監督多い
	|work = DVD Talk
			|trans-title = Yōjirō Takita, Masayuki Suo: Many Famous Film Directors Come Out of Pink Film
	|publisher = Internet Brands
			|url = http://www.news-postseven.com/archives/20120405_99298.html
	|archivedate = 23 May 2014
			|work = News Post Seven
	|url = http://www.dvdtalk.com/reviews/40453/departures/
			|location = Tokyo
	|archiveurl = http://www.webcitation.org/6Pminr3Ai
	|date = 24 January 2010		|date = 5 April 2012
	|accessdate = 23 May 2014		|language = ja
			|access-date = 3 June 2014
	|ref = harv}}
			|archive-url = https://web.archive.org/web/20150417144712/http://www.news-postseven.com/archives/20120405_99298.html
	* {{cite web
			|archive-date = 17 April 2015
	|last = Suzuki
			}}
	|first = {{not a typo|Yosiaki}}
			* {{cite web
	|title = 滝田洋二郎、周防正行他　ピンク映画から巣立った名監督多い
			|last=Tabouring
	|trans_title = Yōjirō Takita, Masayuki Suo: Many Famous Film Directors Come Out of Pink Film
			|first=Franck
	|url = http://www.news-postseven.com/archives/20120405_99298.html
			|title=Departures
	|work = News Post Seven
	|date = 5 April 2012		|date=28 January 2010
			|work=DVD Verdict
	|accessdate = 3 June 2014
			|archive-date=14 July 2014
	|ref = harv}}
			|url=http://www.dvdverdict.com/reviews/departures.php
	* {{cite web
			|archive-url=https://web.archive.org/web/20140714230913/http://www.dvdverdict.com/reviews/departures.php
	|last = Tabouring
			|access-date=7 June 2014
	|first = Franck
			}}
	|title = Departures
	|date = 28 January 2010
	|work = DVD Verdict
	|archivedate = 7 June 2014
	|url = http://www.dvdverdict.com/reviews/departures.php
	|archiveurl = http://www.webcitation.org/6Q9LAhPZF
	|accessdate = 7 June 2014
	|ref = harv}}
	* {{cite book		* {{cite book
	|last1 = Takabe		|last1 = Takabe
Line 755:		Line 888:
	|last2 = Wakatsuki		|last2 = Wakatsuki
	|first2 = Yūji		|first2 = Yūji
	|title = もうひとりの「おくりびと」		|title = Mō hitori no ''Okuribito''
			|script-title=ja:もうひとりの「おくりびと」
	|trans_title = Another "Okuribito"
			|trans-title = Another "Okuribito"
	|year = 2009		|year = 2009
	|publisher = Toho Publishing		|publisher = Toho Publishing
	|language = Japanese		|language = ja
			|location = Tokyo
	|isbn = 978-4-8094-0786-4		|isbn = 978-4-8094-0786-4
			}}
	|ref = harv}}
	* {{cite web|ref={{sfnRef|Takahashi 2008}} |last=Takahashi |first=Masahiro |trans_title=<!--help please--> |title=映画で企画、漫画を作る　「コミカライズ」が隆盛|language=Japanese|work=]|date=10 September 2008|accessdate=22 May 2014|url=http://www.asahi.com/showbiz/manga/TKY200809100057.html}}		* {{cite web|ref={{sfnRef|Takahashi 2008}}|last=Takahashi|first=Masahiro|trans-title=In the Movies, Planning for Comics, ''Komikaraizu'' is Flourishing|script-title=ja:映画で企画、漫画を作る 「コミカライズ」が隆盛|title=Eiga de kikaku, manga wo tsukuru "komikaraizu" ga ryūsei|language=ja|work=]|location=Osaka|date=10 September 2008|access-date=22 May 2014|url=http://www.asahi.com/showbiz/manga/TKY200809100057.html|archive-url=https://web.archive.org/web/20141126101440/http://www.asahi.com/showbiz/manga/TKY200809100057.html|archive-date=26 November 2014}}
			*{{cite video
			|last = Takita
			|first = Yōjirō
			|year = 2008
			|title = ''"Interview with Yōjirō Takita"'' Departures
			|medium = DVD
			|publisher = E1 Entertainment
			|oclc = 785846111
			}}
	* {{cite news		* {{cite news
	|last = Tanabe |<!-- 棚部秀行 -->		|last = Tanabe <!-- 棚部秀行 -->
	|first = Hideyuki		|first = Hideyuki
			|title = Dai 81-kai Bei Akademī-shō gaikokygo eiga jushō ''Okuribito''
	|title = 第８１回米アカデミー賞 外国語映画受賞 「おくりびと」
			|script-title=ja:第８１回米アカデミー賞 外国語映画受賞 「おくりびと」
	|trans_title =
			|trans-title = 81st American Academy Awards Foreign-Language Film Winner ''Okuribito''
			|language = ja
	|page = 9		|page = 9
			|location = Tokyo
	|newspaper = ]		|newspaper = ]
	|date = 2 March 2009		|date = 2 March 2009
			}}
	|ref = harv}}
	* {{cite news		* {{cite news
	|last1 = Tourtellotte		|last1 = Tourtellotte
	|first1 = Bob		|first1 = Bob
	|last2 = Reynolds		|last2 = Reynolds
	|first2 = Isabel		|first2 = Isabel
	|title = Mortician tale "Departures" surprises with Oscar		|title = Mortician tale "Departures" surprises with Oscar
	|url = http://www.reuters.com/article/marketsNews/idUST31471620090223?pageNumber=1&virtualBrandChannel=0		|url = https://www.reuters.com/article/marketsNews/idUST31471620090223?pageNumber=1&virtualBrandChannel=0
	|work = ]		|work = ]
	|date = 23 February 2009		|date = 23 February 2009
	|archivedate = 23 May 2014		|archive-date = 13 May 2014
			|archive-url = https://web.archive.org/web/20140513120748/http://www.reuters.com/article/2009/02/23/oscars-departures-idUST31471620090223?pageNumber=1&virtualBrandChannel=0
	|archiveurl = http://www.webcitation.org/6Pmb8S2vv
	|accessdate = 23 February 2009		|access-date = 23 February 2009
			}}
	|ref = harv}}
	* {{cite journal		* {{cite journal
	|last = Tsukada |<!-- 塚田泉 -->		|last = Tsukada <!-- 塚田泉 -->
	|first = Izumi		|first = Izumi
	|title = FACE08　本木雅弘		|script-title=ja:FACE08 本木雅弘
	|trans_title = Face 08: Motoki Masahiro		|trans-title = Face 08: Motoki Masahiro
	|journal = ]		|journal = ]
			|location = Tokyo
			|language = ja
	|pages = 1–3		|pages = 1–3
	|issue = 1516		|issue = 1516
	|date = 15 September 2008		|date = 15 September 2008
			}}
	|ref = harv}}
	* {{cite web		* {{cite web
	|title = 「おくりびと」オリジナルサウンドトラック		|script-title=ja:「おくりびと」オリジナルサウンドトラック
	|trans_title = ''Departures'' Original Sountrack		|title=''Okuribito'' orijinaru saundotorakku
			|trans-title='Departures' Original Soundtrack
	|language = Japanese
			|language=ja
	|trans_title = 'Departures' Original Soundtrack
	|publisher = Universal Music		|publisher=Universal Music
	|url = http://www.universal-music.co.jp/hisaishi-joe/products/umck-1268/		|url=http://www.universal-music.co.jp/hisaishi-joe/products/umck-1268/
	|accessdate = 8 June 2014		|access-date=8 June 2014
			|archive-date=15 July 2014
	|archivedate = 8 June 2014
			|archive-url=https://web.archive.org/web/20140715025232/http://www.universal-music.co.jp/hisaishi-joe/products/umck-1268/
	|archiveurl = http://www.webcitation.org/6QAqYOpuB
	|ref = {{SfnRef|Universal Music}}}}		|ref={{SfnRef|Universal Music}}
			}}
	* {{cite news		* {{cite news
	|last = Watanabe |<!-- 渡辺祥子 -->		|last = Watanabe <!-- 渡辺祥子 -->
	|first = Shōko		|first = Shōko
	|title = おくりびと：すがすがしく 死と向き合う		|title = ''Okuribito'': Sugasugashiku shi to mukiau
			|script-title=ja:おくりびと：すがすがしく 死と向き合う
	|trans_title = ''Departures'': Freshly Facing Death
			|trans-title = ''Departures'': Freshly Facing Death
	|page = 20		|page = 20
			|language = ja
	|newspaper = ]
			|newspaper = ]
			|location = Tokyo
	|date = 12 September 2008		|date = 12 September 2008
	|edition = Evening		|edition = Evening
			}}
	|ref = harv}}
			* {{cite web
			|author=''Weekly Biz'' staff
			|title=Gachi! Bout.52.51 Masahiro Motoki/Yōjirō Takita
			|script-title=ja:ガチ！BOUT.52.51 本木雅弘/滝田洋二郎
			|date=9 May 2009
			|work=Weekly Biz
			|language=ja
			|url=http://www.weeklybiz.us/gachi/act/%E3%82%AC%E3%83%81%EF%BC%81bout-52-51-%E6%9C%AC%E6%9C%A8%E9%9B%85%E5%BC%98%E6%BB%9D%E7%94%B0%E6%B4%8B%E4%BA%8C%E9%83%8E/
			|access-date=3 June 2014
			|archive-url=https://web.archive.org/web/20141130011124/http://www.weeklybiz.us/gachi/act/%E3%82%AC%E3%83%81%EF%BC%81bout-52-51-%E6%9C%AC%E6%9C%A8%E9%9B%85%E5%BC%98%E6%BB%9D%E7%94%B0%E6%B4%8B%E4%BA%8C%E9%83%8E/
			|archive-date=30 November 2014
			}}
			*{{Cite book
			|title=''Okuribito'': on record: Onkyō piano torio (piano bansō/baiorin ・ chero pāto-fu tsuki)
			|script-title=ja:おくりびと : on record : オンキョウピアノトリオ(ピアノ伴奏/バイオリン・チェロパート譜付き)
			|trans-title=Departures on Record: Music for an Acoustic Trio
			|ref={{SfnRef|WorldCat, おくりびと : on record}}
			|oclc=676204123
			}}
			*{{Cite book
			|title=''Okuribito'': piano & chero ・ pīsu
			|script-title=ja:おくりびと : ピアノ&チェロ・ピース
			|trans-title=Departures: Piano and Cello Pieces
			|ref={{SfnRef|おくりびと : ピアノ&チェロ・ピース}}
			|oclc=676569003
			}}
			* {{Cite book
			|title=Okuribito
			|ref={{sfnRef|''Okuribito''}}
			|oclc=271435675
			}}
			* {{cite news
			|author=''Yamagata Community Shinbun'' staff
			|title=Okuribito no roke-chi būmu Kaminoyama mo atsui zo!
			|script-title=ja:おくりびとロケ地ブーム 上山も熱いぞ！
			|trans-title=''Departures'' Film Location Boom: Kaminoyama is Hot, Too!
			|work=Yamagata Community Shinbun
			|language=ja
			|location=Yamagata
			|url=http://www.yamacomi.com/1306.html
			|date=22 May 2009
			|access-date=11 June 2014
			|archive-date=19 August 2014
			|archive-url=https://web.archive.org/web/20140819190342/http://www.yamacomi.com/1306.html
			}}
	* {{cite web		* {{cite web
	|author = Weekly Biz staff		|author = ''Yamagata News Online'' staff
			|title = ''Okuribito'' roke-chi, raigetsu de kaikan he rōkyū-ka, nyūkansha mo genshō ・ Sakata
	|title = ガチ！BOUT.52.51 本木雅弘/滝田洋二郎
			|script-title = ja:「おくりびと」ロケ地、来月で閉館へ 老朽化、入館者も減少・酒田
	|trans_title = GAchi! Bout.52.51 Masahiro Motoki/Yōjirō Takita
			|trans-title = ''Departures'' Location to be Closed Next Month Due to Age, Decline in Visitors・Sakata
	|date = 9 May 2009
	|work = Weekly Biz		|date = 22 February 2014
			|work = Yamagata News Online
	|url = http://www.weeklybiz.us/gachi/act/%E3%82%AC%E3%83%81%EF%BC%81bout-52-51-%E6%9C%AC%E6%9C%A8%E9%9B%85%E5%BC%98%E6%BB%9D%E7%94%B0%E6%B4%8B%E4%BA%8C%E9%83%8E/
			|location = Yamagata
	|accessdate = 3 June 2014
	|ref = harv}}		|language = ja
			|url = http://yamagata-np.jp/news/201402/22/kj_2014022200480.php
	* {{Cite web|ref={{sfnRef|WorldCat, Okuribito}} |title=Okuribito |publisher=WorldCat |url=http://www.worldcat.org/title/okuribito/oclc/271435675&referer=brief_results |archiveurl=http://www.webcitation.org/6Pl8pTFlK |archivedate=22 May 2014| accessdate=22 May 2014}}
			|access-date = 9 June 2014
	* {{cite news
			|archive-url = https://web.archive.org/web/20141129015117/http://yamagata-np.jp/news/201402/22/kj_2014022200480.php
	|author = Yamagata Community Shinbun staff
			|archive-date = 29 November 2014
	|title = おくりびとロケ地ブーム　上山も熱いぞ！
			}}
	|trans_title = ''Departures'' Film Location Boom: Kaminoyama is Hot, Too!
			* {{cite news
	|work = Yamagata Community Shinbun
			|author=Yamagata Television System staff
	|url = http://www.yamacomi.com/1306.html
			|title=''Okuribito'' de Minato-za fukkatsu
	|date = 22 May 2009
			|script-title=ja:「おくりびと」で「港座」復活
	|accessdate = 11 June 2014
			|trans-title=Minato-za Restored in ''Departures''
	|archivedate = 11 June 2014
			|language=ja
	|archiveurl = http://www.webcitation.org/6QEw2E33j
			|url=http://www.yts.co.jp/gojidas_blog/archives/2009/05/post_266.html
	|ref = harv}}
			|work=]
			|location=Yamagata
			|date=13 May 2009
			|archive-url=https://web.archive.org/web/20140714131333/http://www.yts.co.jp/gojidas_blog/archives/2009/05/post_266.html
			|archive-date=14 July 2014
			|access-date=11 June 2014
			}}
	* {{cite web		* {{cite web
	|author = Yamagata News Online staff		|last = Yamaguchi
			|first = Takurō
	|title = 「おくりびと」ロケ地、来月で閉館へ　老朽化、入館者も減少・酒田
			|title = ''Okuribito''
	|trans_title = ''Departures'' Location to be Closed Next Month Due to Age, Decline in Visitors・Sakata
			|script-title = ja:おくりびと
	|url = http://yamagata-np.jp/news/201402/22/kj_2014022200480.php
			|trans-title = Departures
	|work = Yamagata News Online
	|date = 22 February 2014		|language = ja
			|work = Eiga Judge
	|accessdate = 9 June 2014
			|url = http://www.cinemaonline.jp/review/kan/6601.html
	|ref = harv}}
			|access-date = 2 June 2014
			|archive-url = https://web.archive.org/web/20090228160416/http://www.cinemaonline.jp/review/kan/6601.html
			|archive-date = 28 February 2009
			}}
	* {{cite news		* {{cite news
	|author = Yamagata Television System staff		|last = Yamane <!-- 山根貞夫 -->
	|title = 「おくりびと」で「港座」復活
	|trans_title = Minato-za Restored in ''Departures''
	|url = http://www.yts.co.jp/gojidas_blog/archives/2009/05/post_266.html
	|work = ]
	|date = 13 May 2009
	|accessdate = 11 June 2014
	|ref = harv}}
	* {{cite web
	|last = Yamaguchi
	|first = Takurō
	|title = おくりびと
	|trans_title = ''Departures''
	|work = Eiga Judge
	|url = http://www.cinemaonline.jp/review/kan/6601.html
	|accessdate = 2 June 2014
	|ref = {{SfnRef|Yamaguchi}} }}
	* {{cite news
	|last = Yamane |<!-- 山根貞夫 -->
	|first = Sadao		|first = Sadao
			|title = ''Okuribito'': zetsumyō no te no ugoki ni kokoro-utarete
	|title = 「おくりびと」：絶妙な手の動きに心打たれた
			|script-title=ja:「おくりびと」：絶妙な手の動きに心打たれた
	|trans_title = ''Okuribito'': Touched by Exquisite Hand Movements<!-- surely there's a more elegant translation for 手の動き than "hand movements" -->
			|trans-title = ''Okuribito'': Touched by Exquisite Hand Movements<!-- surely there's a more elegant translation for 手の動き than "hand movements" -->
			|language = ja
	|page = 5		|page = 5
			|location = Osaka
	|newspaper = ]		|newspaper = ]
	|date = 12 September 2008		|date = 12 September 2008
	|edition = Evening		|edition = Evening
			}}
	|ref = harv}}
	* {{cite book		* {{cite book
	|last = Yamane		|last = Yamane
	|first = Sadao		|first = Sadao
	|title = 日本映画時評集成 2000–2010		|title = Nihon eiga jihyō henshū 2000–2010
	|trans_title = Collected Commentary on Japanese Film 2000–2010		|script-title=ja:日本映画時評集成 2000–2010
			|trans-title = Collected Commentary on Japanese Film 2000–2010
	|year = 2012		|year = 2012
	|chapter = 映画が立ち上がる瞬間		|chapter = 映画が立ち上がる瞬間
	|pages = 350–353		|pages = 350–353
			|location=Tokyo
	|publisher = Kokusho Kankōkai		|publisher = Kokusho Kankōkai
	|language = Japanese		|language = ja
	|isbn = 978-4-336-05482-1		|isbn = 978-4-336-05482-1
			}}
	|ref = harv}}
	* {{cite web		* {{cite web
	|author = Yomiuri Shimbun staff		|author=''Yomiuri Shimbun'' staff
			|title=''Okuribito'' roke-chi, sangatsu-matsu de kōkai shūryō he
	|title = 「おくりびと」ロケ地、３月末で公開終了へ
			|script-title=ja:「おくりびと」ロケ地、３月末で公開終了へ
	|trans_title = ''Okuribito'' Shooting Locations to be Opened to the Public from Late March
			|trans-title=''Okuribito'' Shooting Locations to be Opened to the Public from Late March
	|date = 22 February 2014
			|date=22 February 2014
	|work = ]
			|location=Tokyo
	|url = http://www.yomiuri.co.jp/otona/travel/tnews/tohoku/20140222-OYT8T00262.html
			|work=]
	|accessdate = 9 June 2014
			|language=ja
	|archiveurl=http://www.webcitation.org/6QDVoXUeX
			|url=http://www.yomiuri.co.jp/otona/travel/tnews/tohoku/20140222-OYT8T00262.html
	|archivedate=10 June 2009
			|access-date=9 June 2014
	|ref = harv}}
			|archive-url=https://web.archive.org/web/20150505213015/http://info.yomiuri.co.jp/culture/2010/10/jushou-kako51.html
			|archive-date=5 May 2015
			}}
	* {{cite book		* {{cite book
	|last = Yoshida		|last = Yoshida
	|first = Narihiko		|first = Narihiko
			|title = Aidea wo katachi ni suru shigoto-jutsu: bijinesu ・ purodyūsā no nanatsu no nōryoku
	|title = アイデアをカタチにする仕事術: ビジネス・プロデューサーの７つの能力
			|script-title = ja:アイデアをカタチにする仕事術: ビジネス・プロデューサーの７つの能力
	|trans_title = Giving Shape to an Idea: Seven Skills of Business Producers|<!-- not literal, but whatever -->
			|trans-title = Giving Shape to an Idea: Seven Skills of Business Producers <!-- not literal, but whatever -->
	|url = http://books.google.com/books?id=mR2aAwAAQBAJ
			|url = https://books.google.com/books?id=mR2aAwAAQBAJ
	|year = 2010
			|year = 2010
	|publisher = Toyo Keizai
	|language = Japanese		|publisher = Toyo Keizai
	|isbn = 978-4-492-04367-7		|language = ja
	|ref = harv}}		|location = Tokyo
			|isbn = 978-4-492-04367-7
			}}
	{{refend}}
			{{Refend}}
	==External links==		==External links==
	* {{Official website|https://web.archive.org/web/20100210181450/http://www.departures-themovie.com/}} (via the ])		* {{Official website|https://web.archive.org/web/20100210181450/http://www.departures-themovie.com/}} (via the ])
	* {{IMDb title|1069238|Departures}}		* {{IMDb title}}
			* {{Rotten Tomatoes}}
			*{{metacritic film}}
			{{Yōjirō Takita}}
	{{Portal bar|Death|Film|Japan}}
	{{Navboxes		{{Navboxes
			|title = ]
	|title = Awards
	|list =		|list =
	{{Academy Award Best Foreign Language Film 2001–2020}}		{{Academy Award Best Foreign Language Film 2001–2020}}
			{{Grand Prix des Amériques}}
	{{Hochi Film Award for Best Film}}		{{Hochi Film Award for Best Film}}
			{{Japanese submissions for the Academy Award}}
	{{Japan Academy Prize for Best Film}}		{{Japan Academy Prize for Best Film}}
			{{Kinema Junpo Award for Best Film}}
	{{Mainichi Film Award for Best Film}}		{{Mainichi Film Award for Best Film}}
			{{Nikkan Sports Film Award for Best Film}}
	{{Yokohama Film Festival Best Film}}		{{Yokohama Film Festival Best Film}}
	{{Grand Prix des Amériques}}
	}}		}}
	{{Yōjirō Takita}}
			{{Portal bar|Film|Japan}}
			{{Authority control}}
	{{DEFAULTSORT:Departures}}		{{DEFAULTSORT:Departures}}
			]
	]		]
	]		]
	]
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Latest revision as of 20:15, 21 December 2024

2008 film "Okuribito" redirects here. For the song by Ai, see Okuribito (song). For other similarly titled films, see Departure (disambiguation) § Films.

Departures
Theatrical release poster
Directed by	Yōjirō Takita
Written by	Kundō Koyama
Produced by	Yasuhiro Mase Toshiaki Nakazawa
Starring	Masahiro Motoki Ryōko Hirosue Tsutomu Yamazaki
Cinematography	Takeshi Hamada
Edited by	Akimasa Kawashima
Music by	Joe Hisaishi
Production companies	Tokyo Broadcasting System Amuse Soft Entertainment Asahi Shimbun Dentsu Mainichi Broadcasting System Sedic Shochiku ShoPro TBS Radio & Communications
Distributed by	Shochiku
Release dates	23 August 2008 (2008-08-23) (MWFF) 13 September 2008 (2008-09-13) (Japan)
Running time	130 minutes
Country	Japan
Language	Japanese
Box office	$70 million

Departures (Japanese: おくりびと, Hepburn: Okuribito, "one who sends off") is a 2008 Japanese drama film directed by Yōjirō Takita and starring Masahiro Motoki, Ryōko Hirosue, and Tsutomu Yamazaki. The film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a nōkanshi—a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he repairs these interpersonal connections through the beauty and dignity of his work.

The idea for Departures arose after Motoki, affected by having seen a funeral ceremony along the Ganges when travelling in India, read widely on the subject of death and came across Coffinman. He felt that the story would adapt well to film, and Departures was finished a decade later. Because of Japanese prejudices against those who handle the dead, distributors were reluctant to release it—until a surprise grand prize win at the Montreal World Film Festival in August 2008. The following month the film opened in Japan, where it went on to win the Academy Prize for Picture of the Year and become the year's highest-grossing domestic film. This success was topped in 2009, when it became the first Japanese production to win the Academy Award for Best Foreign Language Film.

Departures received positive reviews, with aggregator Rotten Tomatoes indicating an 80% approval rating from 108 reviews. Critics praised the film's humour, the beauty of the encoffining ceremony, and the quality of the acting, but some took issue with its predictability and overt sentimentality. Reviewers highlighted a variety of themes, but focused mainly on the humanity that death brings to the surface and how it strengthens family bonds. The success of Departures led to the establishment of tourist attractions at sites connected to the film and increased interest in encoffining ceremonies, as well as adaptation of the story for various media, including manga and a stage play.

Plot

Daigo Kobayashi (Masahiro Motoki) loses his job as a cellist when his orchestra is disbanded. He and his wife Mika (Ryōko Hirosue) move from Tokyo to his hometown in Yamagata, where they live in his childhood home that was left to him when his mother died two years earlier. It is fronted by a coffee shop that Daigo's father had operated before he ran off with a waitress when Daigo was six; since then the two have had no contact. Daigo feels hatred towards his father and guilt for not taking better care of his mother. He still keeps a "stone-letter"—a stone which is said to convey meaning through its texture—which his father had given him many years before.

Daigo finds an advertisement for a job "assisting departures". Assuming it to be a job in a travel agency, he goes to the interview at the NK Agent office and learns from the secretary, Yuriko Kamimura (Kimiko Yo), that he will be preparing bodies for cremation in a ceremony known as encoffinment. Though reluctant, Daigo is hired on the spot and receives a cash advance from his new boss, Sasaki (Tsutomu Yamazaki). Daigo is furtive about his duties and hides the true nature of the job from Mika.

His first assignment is to assist with the encoffinment of a woman who died at home and remained undiscovered for two weeks. He is beset with nausea and later humiliated when strangers on a bus detect an unsavoury scent on him. To clean himself, he visits a public bath which he had frequented as a child. It is owned by Tsuyako Yamashita (Kazuko Yoshiyuki), the mother of one of Daigo's former classmates.

Over time, Daigo becomes comfortable with his profession as he completes a number of assignments and experiences the gratitude of the families of the deceased. Though he faces social ostracism, Daigo refuses to quit, even after Mika discovers a training DVD in which he plays a corpse and leaves him to return to her parents' home in Tokyo. Daigo's former classmate Yamashita (Tetta Sugimoto) insists that the mortician find a more respectable line of work and, until then, avoids him and his family.

After a few months, Mika returns and announces that she is pregnant. She expresses hope that Daigo will find a job of which their child can be proud. During the ensuing argument, Daigo receives a call for an encoffinment for Mrs Yamashita. Daigo prepares her body in front of both the Yamashita family and Mika, who had known the public bath owner. The ritual earns him the respect of all present, and Mika stops insisting that Daigo change jobs. At the funeral, Yamashita is permitted to witness the burning of his mother's body through a peephole on the retort and listens to a heartfelt anecdote about death told by the furnace operator.

Sometime later, they learn of the death of Daigo's father. Daigo experiences renewed feelings of anger and tells the others at the NK office that he refuses to deal with his father's body. Feeling ashamed of having abandoned her own son long ago, Yuriko tells this to Daigo in an effort to change his mind. Daigo berates Yuriko and storms out before collecting himself and turning around. He goes with Mika to another village to see the body. Daigo is at first unable to recognize him, but takes offence when local funeral workers are careless with the body. He insists on dressing it himself, and while doing so finds a stone-letter that he had given to his father, held tight in the dead man's hands. The childhood memory of his father's face returns to him, and after he finishes the ceremony, Daigo gently presses the stone-letter to Mika's pregnant belly.

Production

Cultural background

Main article: Nōkanshi

Japanese funerals are highly ritualized affairs which are generally—though not always—conducted in accordance with Buddhist rites. In preparation for the funeral, the body is washed and the orifices are blocked with cotton or gauze. The encoffining ritual (called nōkan), as depicted in Departures, is rarely performed, and even then only in rural areas. This ceremony is not standardized, but generally involves professional morticians (納棺師, nōkanshi) ritually preparing the body, dressing the dead in white, and sometimes applying make-up. The body is then put on dry ice in a casket, along with personal possessions and items deemed necessary for the trip to the afterlife.

Despite the importance of death rituals, in traditional Japanese culture the subject is considered unclean as everything related to death is thought to be a source of kegare (defilement). After coming into contact with the dead, individuals must cleanse themselves through purifying rituals. People who work closely with the dead, such as morticians, are thus considered unclean, and during the feudal era those whose work was related to death became burakumin (untouchables), forced to live in their own hamlets and discriminated against by wider society. Despite a cultural shift since the Meiji Restoration of 1868, the stigma of death still has considerable force within Japanese society, and discrimination against the untouchables has continued.

Until 1972, most deaths were dealt with by families, funeral homes, or nōkanshi. As of 2014, about 80% of deaths occur in hospitals, and preparation of the bodies is frequently done by hospital staff; in such cases, the family often does not see the body until the funeral. A 1998 survey found that 29.5% of the Japanese population believed in an afterlife, and a further 40% wanted to believe; belief was highest among the young. Belief in the existence of a soul (54%) and a connection between the worlds of the living and the dead (64.9%) was likewise common.

Conception and preproduction

In the early 1990s, a 27-year-old Motoki and his friend travelled to India; just before going, at the friend's recommendation he read Shin'ya Fujiwara's Memento Mori (Latin for "remember that you will die"). While in India, he visited Varanasi, where he saw a ceremony in which the dead were cremated and their ashes floated down the Ganges. Witnessing this ceremony of death against a backdrop of bustling crowds going about their lives deeply affected Motoki. When he returned to Japan, he read numerous books on the subject of death, and in 1993 wrote a book on the relationship between life and death: Tenkuu Seiza—Hill Heaven. Among the books he read was Shinmon Aoki's autobiographical Coffinman: The Journal of a Buddhist Mortician (納棺夫日記, Nōkanfu Nikki), which exposed Motoki to the world of the nōkanshi for the first time. Motoki said he found a sense of mystery and near-eroticism to the profession that he felt had an affinity with the film world.

Getting funding for the project was difficult because of the taboos against death, and the crew had to approach several companies before Departures was approved by Yasuhiro Mase and Toshiaki Nakazawa. According to the film's director, Yōjirō Takita, a consideration in taking on the film was the age of the crew: "we got to a certain point in our lives when death was creeping up to become a factor around us". Kundō Koyama was enlisted to provide the script, his first for a feature film; his previous experience had been in scripting for television and stage. Takita, who had begun his career in the pink film genre before entering mainstream filmmaking in 1986 with Comic Magazine, took on the director's role in 2006, after producer Toshiaki Nakazawa presented him with the first draft of the script. In a later interview he stated "I wanted to make a film from the perspective of a person who deals with something so universal and yet is looked down upon, and even discriminated against". Although he knew of the encoffining ceremony, he had never seen one performed.

Production of Departures took ten years, and the work was ultimately only loosely adapted from Coffinman; later revisions of the script were worked on collaboratively by the cast and crew. Although the religious aspects of funerals were important in the source work, the film did not include them. This, together with the fact that filming was completed in Yamagata and not Aoki's home prefecture of Toyama, led to tensions between the production staff and the author. Aoki expressed concern that the film was unable to address "the ultimate fate of the dead". The first edition of the book was broken into three parts; the third, "Light and Life", was an essay-like Buddhist musing on life and death, regarding the "light" seen when one perceived the integration of life and death, that is absent from the film. Aoki believed the film's humanistic approach did away with the religious aspects that were central to the book—the emphasis on maintaining connections between the living and the dead that he felt only religion could provide—and refused to allow his name and that of his book to be used. For the new title, Koyama coined the term okuribito as a euphemism for nōkanshi, derived from the words okuru ("to send off") and hito ("person").

While the book and film share the same premise, the details differ considerably; Aoki attributed these changes to the studio making the story more commercial. Both feature a protagonist who endures uneasiness and prejudice because of his job as a nōkanshi, undergoes personal growth as a result of his experiences, and finds new meaning in life when confronted with death. In both, the main character deals with societal prejudices and misunderstandings over his profession. In Coffinman, the protagonist was the owner of a pub-café that had gone out of business; during a domestic squabble his wife threw a newspaper at him, in which he found an ad for the nōkanshi position. He finds pride in his work for the first time when dealing with the body of the father of a former girlfriend. Koyama changed the protagonist from a bar owner to cellist as he wanted cello orchestration for the film score. Other differences included moving the setting from Toyoma to Yamagata for filming convenience, making the "letter-stone" a greater part of the plot, and an avoidance of heavier scenes, such as religious ones and one in which Aoki talks of seeing "light" in a swarm of maggots. Koyama also added the subplot in which Daigo is able to forgive his late father; taken from a novel he was writing, it was intended to close the story with "some sense of happiness".

Casting

Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryōko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".

Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.

To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect.

Filming and post-production

The non-profit organization Sakata Location Box was established in December 2007 to handle on-location matters such as finding extras and negotiating locations. After deciding to shoot in Sakata, Location Box staff had two months to prepare for the eighty members of the film crew. Negotiations were slow, as many local property owners lost interest after learning that the filming would involve funeral scenes; those who agreed insisted that shooting take place outside of business hours.

Toyama was both the setting of Coffinman and Takita's home prefecture, but filming was done in Yamagata; this was largely because the national Nōkan Association, headquartered in Hokkaido, had a branch office in Sakata. Some preliminary scenes of snowy landscapes were shot in 2007, and primary filming began in April 2008, lasting 40 days. Locations included Kaminoyama, Sakata, Tsuruoka, Yuza, and Amarume. The NK Agent office was filmed in a three-storey, Western-style building in Sakata built in 1922. Originally a restaurant named Kappō Obata, it went out of business in 1998. The Kobayashis' café, called Concerto in the film, was located in Kaminoyama in a former beauty salon. From a hundred candidates, Takita chose it for its atmosphere as an aged building with a clear view of the nearby river and surrounding mountain range. The scene of the shooting of the training DVD took place in the Sakata Minato-za, Yamagata's first movie theatre, which had been closed since 2002.

The soundtrack to Departures was by Joe Hisaishi, a composer who had gained international recognition for his work with Hayao Miyazaki and Studio Ghibli. Before shooting began, Takita asked him to prepare a soundtrack which would represent the separation between Daigo and his father, as well as the mortician's love for his wife. Owing to the importance of cellos and cello music in the narrative, Hisaishi emphasized the instrument in his soundtrack; he described the challenge of centring a score around the cello as one of the most difficult things he had ever done. This score was played during shooting, which according to Takita "allowed to visualize many of the emotions in the film" and thus contributed to the quality of the finished work.

Style

As they are the movie's "central dramatic piece", the encoffining ceremonies in Departures have received extensive commentary. Mike Scott, for instance, wrote in The Times-Picayune that these scenes were beautiful and heartbreaking, and Nicholas Barber of The Independent described them as "elegant and dignified". James Adams of The Globe and Mail wrote that they were a "dignified ritual of calming, hypnotic grace, with sleights of hand bordering on the magicianly". As the film continues, Paul Byrnes of The Sydney Morning Herald opined, the audience gains an improved knowledge of the ceremony and its importance. Viewers see that the ceremonies are not simply about preparing the body, but also about "bring dignity to death, respect to the deceased and solace to those who grieve", through which the encoffiners are able to help repair broken family ties and heal damage done to those left behind.

There is an idealization of the nōkanshi as presented in the film. In all but one case, the dead are either young or already made-up, such that "the viewer can easily tolerate these images on the screen". The one corpse that had not been found for several days is never shown on screen. No bodies show the gaunt figure of one who has died after a long illness, or the cuts and bruises of an accident victim. Japanologist Mark R. Mullins writes that the gratitude shown in Departures would probably not have occurred in real life; according to Coffinman, there "is nothing lower on the social scale than the mortician, and the truth of the matter is that fear the coffinman and the cremator just as much as death and the corpse".

In a montage, scenes of Daigo playing his childhood cello while sitting outdoors are interspersed with scenes of encoffining ceremonies. Byrnes believes that this scene was meant to increase the emotional charge of the film, and Roger Ebert of the Chicago Sun-Times considered it a "beautiful fantasy scene" through which the camera is "granted sudden freedom" from the generally standard shots. Yoshiko Okuyama of the University of Hawaii at Hilo found that Daigo's deft movements while playing the cello mirrored the high level of professionalism which he had reached. Several reviewers, such as Leigh Paatsch of the Herald Sun, questioned the need for the shot. Throughout the film's soundtrack, cello music remains dominant. Takita drew parallels between the instrument and the encoffining ceremony, stating that

... ironically, there is something similar between the process of encoffinment and the act of playing the cello. When you play the cello, the instrument has a human, curvaceous form. The cellist embraces that form when playing the instrument, very loving, affectionate. That's very similar, physically, to the actions of the encoffiner, cradling the body, being tender and gentle with it.

Byrnes found that Departures used the symbol of the cherry blossom, a flower which blooms after the winter only to wither soon afterwards, to represent the transience of life; through this understanding, he wrote, Japanese people attempt to define their own existence. Natural symbols are further presented through the changing seasons, which "suggest delicate emotional changes" in the characters, as well as the letter-stones, which represent "love, communication, the baton being passed from generation to generation". The film's settings are used to convey various sensations, including the solitude of the countryside and the intimacy of the public bath house. The colour white, manifested through snow, chrysanthemums, and other objects, is prominent in the film; Okuyama suggests that this, together with the classical music and ritualized hand gestures, represents the sacredness and purity of the death ceremonies.

Departures incorporates aspects of humour, an "unexpected" complement to the theme of death which Ebert suggested may be used to mask the audience's fears. Betsy Sharkey of the Los Angeles Times opines that, through this use of humour, the film avoids becoming too dark and instead acts as a "warmhearted blend" of whimsy and irony. This humour manifests in a variety of manners, such as a scene in which "a mortified Daigo, naked except for a pair of adult diapers, is the reluctant model" for an educational video regarding the encoffining process, as well as a scene in which Daigo discovers that the person he is preparing is a trans woman. Takita stated that the addition of humour was deliberate, as "humans are comical by nature", and that the humour did not conflict with the film's darker themes.

Themes

Several critics discussed the theme of death found in Departures. Scott highlighted the contrast between the taboo of death and the value of jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life. Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated from his wife and friends owing to traditional values. Ultimately it is through his work with the dead that Daigo finds fulfilment, and, as Peter Howell of the Toronto Star concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity". Okuyama writes that, in the end, the film (and the book on which it was based) serves as a "quiet yet persistent protest" against the discrimination which people who deal with death continue to face in modern Japan: death is a normal part of life, not something repulsive.

Along with this theme of death, Takita believed Departures was about life, about finding a lost sense of feeling human; Daigo gains a greater perspective on life and realises the diversity of people's lives only after encountering them in death. This life includes family bonds: Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office, conversation often revolves around family issues. Mika's pregnancy is the catalyst for her reconciliation with Daigo.

Ebert writes that, as with other Japanese films such as Tokyo Story (Yasujirō Ozu; 1953) and The Funeral (Juzo Itami; 1984), Departures focuses on the effect of death on the survivors; the afterlife is not given much discussion. He considered this indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation. Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them". The film touches on the question of the afterlife: the cremator likens death to "a gateway", and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides.

Byrnes found that Departures leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. Although the encoffining ceremony was traditionally completed by the dead person's family, a decreased interest in it opened a "niche market" for professional encoffiners. Okuyama wrote that, through this film, Takita was filling a "spiritual loss" caused by the departure from tradition in modern Japan. Tadao Sato connected this theme of modernity to that of death, explaining that the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He considered the film's treatment of nōkan as an artistic rather than religious ceremony to reflect the agnostic attitudes of modern Japan.

Release

The taboo subject of Departures made prospective distributors wary of taking on the film. Surveys conducted at pre-release screenings placed it at the bottom of the list of films audiences wanted to see. Ultimately, the film's debut at the Montreal World Film Festival in August 2008, which was rewarded with the festival's grand prize, provided the necessary incentive for distributors to select Departures; it finally received its domestic Japanese release on 13 September 2008. Even then, owing to the strong taboo against death, Takita was worried about the film's reception and did not anticipate commercial success, and others expressed concern that the film lacked a clear target audience.

This fear was misplaced; Departures debuted in Japan at fifth place, and during the fifth week of its run hit its peak position at third place. It sold 2.6 million tickets in Japan and generated 3.2 billion yen ($32 million) in box office revenue in the five months after its debut. The film was still showing in 31 theatres when its success at the Academy Awards in February 2009 renewed interest; the number of screens on which it was showing was increased to 188 and the film earned another ¥2.8 billion ($28 million), making a total of ¥6 billion ($60 million). This made Departures the highest-grossing domestic film and 15th top-grossing film overall for 2008. Executive producer Yasuhiro Mase credited this success to the effects of the Great Recession on Japan: viewers who were seeking employment after recently being downsized empathized with Daigo.

From the beginning an international release of the film was intended; as English is considered a key language in international film festivals, English subtitles were prepared. The translation was handled by Ian MacDougall. He believed that the workings of the mortician's world were as far from the experience of most Japanese as from that of a non-Japanese audience. As such he felt a faithful translation was best, without going far to accommodate foreign audiences to unfamiliar cross-cultural elements.

In September 2008, ContentFilm acquired the international rights to Departures, which by that time had been licensed for screening in countries such as Greece, Australia, and Malaysia; the film was ultimately screened in 36 countries. North American distribution was handled by Regent Releasing, and Departures received a limited release in nine theatres beginning on 29 May 2009. Overall, the film earned almost $1.5 million during its North American run before closing on 24 June 2010. In the United Kingdom, Departures premiered on 4 December 2009 and was distributed by Arrow Film Distributors. The film attained a worldwide gross of nearly $70 million.

Adaptations and other media

The film's composer Joe Hisaishi (left) worked with Ai (right) on the image song "Okuribito".

Before Departures premiered, a manga adaptation by Akira Sasō was serialized in twelve instalments in the bi-weekly Big Comic Superior, from February to August 2008. Sasō agreed to take on the adaptation as he was impressed by the script. He had the opportunity to view the film before beginning the adaptation, and came to feel that a too-literal adaptation would not be appropriate. He made changes to the settings and physical appearances of the characters, and increased the focus on the role of music in the story. Later in 2008 the serial was compiled in a 280-page volume released by Shogakukan.

On 10 September 2008, three days before the Japanese premiere of Departures, a soundtrack album for the film—containing nineteen tracks from the film and featuring an orchestral performance by members of the Tokyo Metropolitan and NHK Symphony Orchestras—was released by Universal Music Japan. Pop singer Ai provided lyrics to music by Hisaishi for the image song "Okuribito"; performed by Ai with an arrangement for cellos and orchestra, the single was released by Universal Sigma and Island Records on 10 September 2008 along with a promotional video. Sheet music for the film's soundtrack was published by KMP in 2008 (for cello and piano) and Onkyō in 2009 (for cello, violin, and piano).

Shinobu Momose, a writer specializing in novelizations, adapted Departures as a novel. It was published by Shogakukan in 2008. That year the company also released Ishibumi (Letter-Stone), an illustrated book on the themes of the film told from the point of view of a talking stone; this book was written by Koyama and illustrated by Seitarō Kurota. The following year Shogakukan published an edition of Koyama's first draft of the screenplay. A stage version of the film, also titled Departures, was written by Koyama and directed by Takita. It debuted at the Akasaka ACT Theater on 29 May 2010, featuring kabuki actor Nakamura Kankurō as Daigo and Rena Tanaka as Mika. The story, set seven years after the close of the film, concerns the insecurities of the couple's son over Daigo's profession.

Home releases

A dual-layer DVD release, with special features including trailers, making-of documentaries, and a recorded encoffining ceremony, was released in Japan on 18 March 2009. A North American DVD edition of Departures, including an interview with the director, was released by Koch Vision on 12 January 2010; the film was not dubbed, but rather presented with Japanese audio and English subtitles. A Blu-ray edition followed in May. This home release received mixed reviews. Franck Tabouring of DVD Verdict was highly complimentary toward the film and the digital transfer, considering its visuals clean and sharp and the audio (particularly the music) "a pleasure to listen to". Thomas Spurlin, writing for DVD Talk, rated the release as "Highly Recommended", focusing on the "unexpected powerhouse" of the film's quality. Another writer for the website, Jeremy Mathews, advised readers to "Skip It", finding the DVD an apt presentation of the source material—which he considered to "reduce itself to clumsy, mug-filled attempts at broad comedy and awkward, repetitive tear-jerker scenes". Both DVD Talk reviews agreed that the audio and visual quality were less than perfect, and that the DVD's extra contents were poor; Mathews described the interview as the director answering "dull questions in a dull manner".

Reception

Critical response

Departures received generally positive reviews from critics. The review aggregator Rotten Tomatoes sampled 109 reviewers and judged an 80% approval rating, with an average score of 7.1 out of 10. The website's critical consensus states, "If slow and predictable, Departures is a quiet, life affirming story". The aggregator Metacritic gives the film 68 out of 100, based on 27 reviews, indicating "generaly favorable reviews".

Domestic reviews

Initial reviews in Japan were positive. In Kinema Junpo, Tokitoshi Shioda called Departures a turning point in Takita's career, a human drama capturing both laughter and tears, while in the same publication Masaaki Nomura described the film as a work of supple depth that perhaps indicated a move into Takita's mature period, praising the director for capturing a human feeling from Motoki's earnest encoffining performance. Writing in the Yomiuri Shimbun, Seichi Fukunaga complimented Takita for using a moving, emotive story laden with humour to reverse prejudice against a taboo subject. He commended the performances of Motoki and Yamazaki, particularly their playing the serious Daigo against the befuddled Sasaki.

In the Asahi Shimbun, Sadao Yamane found the film admirably constructed and extolled the actors' performances. Yamane was especially impressed by the delicate hand movements Motoki displayed when he performed the encoffinment ceremony. Tomomi Katsuta in the Mainichi Shimbun found Departures a meaningful story that made the viewer think about the different lives people live, and the significance of someone dying. Writing in the same newspaper, Takashi Suzuki thought the film memorable but predictable, and Yūji Takahashi opined that the film's ability to find nobility in a prejudiced subject was an excellent accomplishment. Shōko Watanabe gave Departures four out of five stars in The Nikkei newspaper, praising the actors' unforced performances.

Following the success of Departures at the Academy Awards, critic Saburō Kawamoto found the film to show a Japan that the Japanese could relate to, in that, in a nation whose customs put great weight on visits to ancestral graves, a death was always a family affair. He believed the film had a samurai beauty to it, with its many scenes of families sitting seiza. Critic Yūichi Maeda [ja] gave the film a 90% rating, and credited the performances of the two leads for much of the film's success. He praised its emotional impact and its balance of seriousness and humour, but was more critical of the father–son relationship, which he considered overdone. Maeda attributed the film's international success, despite its heavily Japanese content, to its clear depiction of Japanese views on life and death. He found the film's conceptual scale to have an affinity to that of Hollywood (something he considered lacking in most Japanese films).

Reviewer Takurō Yamaguchi gave the film an 85% rating, and found the treatment of its subject charming. He praised its quiet emotional impact and humour, the interweaving of northern Japan scenery with Hisaishi's cello score, and the film's Japanese spirit. Media critic Sadao Yamane [ja] found a moving beauty in the dextrous hand movements Sasaki teaches Daigo for preparing bodies, and believed that a prior reading of the original script would deepen the viewer's understanding of the action. Mark Schilling of The Japan Times gave the film four stars out of five, praising the acting though criticizing the apparent idealization of the encoffiners. He concluded that the film "makes a good case for the Japanese way of death."

International reviews

Internationally, Departures has received mixed—mostly positive—reviews. Ebert gave the film a perfect four stars, describing it as "rock-solid in its fundamentals" and highlighting its cinematography, music, and the casting of Yamazaki as Sasaki. He found that the result "functions flawlessly" and is "excellent at achieving the universal ends of narrative". He eventually put the movie in his collection of Great Movies; the most recent film on the list. Derek Armstrong of AllMovie gave the film four stars out of five, describing it as "a film of lyrical beauty" which is "bursting with tiny pleasures". In a four-star review, Byrnes described the film as a "moving meditation on the transience of life" which showed "great humanity", concluding "it's a beautiful film but take two hankies." Howell gave the film three stars out of four, praising its acting and cinematography. He wrote that Departures "quietly subverts aesthetic and emotional expectations" without ever losing its "high-minded intent". In a three-and-a-half star review, Claudia Puig of USA Today described Departures as a "beautifully composed" film which, although predictable, was "emotional, poignant" and "profoundly affecting".

Philip French of The Observer considered Departures to be a "moving, gently amusing" film, which the director had "fastidiously composed". Sharkey found it an "emotionally wrenching trip with a quiet man", one which was well cast with "actors who move lightly, gracefully" in the various settings. In Entertainment Weekly, Owen Gleiberman gave the film a B−, considering it "tender and, at times, rather squishy", though certain to affect anyone who had lost a parent. Barber found Departures to be "heartfelt, unpretentious, slyly funny", worth watching (though ultimately predictable). Mike Scott gave the film three and a half stars out of four, finding that it was "a surprisingly uplifting examination of life and loss", with humour which perfectly complemented the "moving and meaningful story", but lent itself to characters "mug for the camera".

Meanwhile, Kevin Maher of The Times described Departures as a "verklempt comedy" with wearisome "push-button crying", though he considered it saved by the quality of the acting, "stately" directing, and "dreamy" soundtrack. Another mixed review was published in The Daily Telegraph, which described the film as a "safe and emotionally generous crowd-pleaser" that was not worthy of its Academy Award. Philip Kennicott wrote in The Washington Post that the film was "as polished as it is heavy-handed", predictable yet ready to break taboos, immersed in death yet incapable of escaping "the maddening Japanese taste for sentimentality". In Variety, Eddie Cockrell wrote that the film offered "fascinating glimpses" of the encoffining ceremony but should have had a much shorter runtime. Paatsch gave Departures three stars out of five, describing it as a "quaintly mournful flick" that "unfolds with a delicacy and precision that slowly captivates the viewer" but considering some scenes, such as the montage, "needlessly showy flourishes". Edward Porter of The Sunday Times wrote that the film's success at the Academy Awards could be blamed on "a case of the Academy favouring bland sentimentality".

The A.V. Club's Keith Phipps gave Departures a C−, writing that though it featured "handsome shots of provincial life" and encoffining scenes with a "poetic quality", ultimately the film "drips from one overstated emotion to the next". A. O. Scott wrote in The New York Times that the film was "perfectly mediocre", predictable, and banal in its combination of humour and melodrama. Despite its sometimes touching moments, he considered Departures "interesting mainly as an index of the Academy's hopelessly timid and conventional tastes". Tony Rayns of Film Comment gave a scathing review in which he denounced the script as "embarrassingly clunky and obvious", the acting as merely "adequate", and the film as but a "paean to the good-looking corpse". Adams gave Departures two out of four stars, praising the emotionally and visually arresting scenes of encoffinments and "loving attention to the textures, tastes and behaviours of semi-rural Japan" but condemning the predictability of the plot; he wrote that "Forty-five minutes in, prepared a mental checklist of every turn that Daigo Kobayashi will face, then negotiate – and be danged if Takita doesn't deliver on every one".

Awards

Main article: List of accolades received by Departures (2008 film)

At the 32nd Japan Academy Prize ceremony held in February 2009, Departures dominated the competition. It received a total of thirteen nominations, winning ten, including Picture of the Year, Screenplay of the Year (Koyama), Director of the Year (Takita), and Outstanding Performance by an Actor in a Leading Role (Motoki). In the Outstanding Performance by an Actress in a Leading Role category, Hirosue lost to Tae Kimura of All Around Us, while in the Outstanding Achievement in Art Direction category Departures's Tomio Ogawa lost to Paco and the Magical Book's Towako Kuwashima. Hisaishi, nominated for two Outstanding Achievement in Music awards, won for his scoring of Studio Ghibli's animated film Ponyo. In response to the wins, Motoki said "It feels as if everything miraculously came together in balance this time with Okuribito".

Departures was submitted to the 81st Academy Awards as Japan's submission for the Best Foreign Language Film award. Although eleven previous Japanese films had won Academy Awards in other categories, such as Best Animated Feature or Best Costume Design, the as-yet unattained Best Foreign Language Film award was highly coveted in the Japanese film industry. Departures was not expected to win, owing to strong competition from the Israeli and French submissions (Ari Folman's Waltz with Bashir and Laurent Cantet's The Class, respectively), but was ultimately the victor at the February 2009 ceremony. This was considered a surprise by several film critics, and The New York Times's David Itzkoff termed Departures "The Film That Lost Your Oscars Pool for You". Motoki, who was expecting the "wonderful" Israeli submission to win, was also surprised; he described himself as a "hanger-on who just observes the ceremony", and regretted "not walk with more confidence" upon his arrival.

Departures received recognition at a variety of film festivals, including the Audience Choice Award at the 28th Hawaii International Film Festival, the Audience Choice Award at the 15th Vilnius International Film Festival, the Grand Prix des Amériques at the 32nd Montreal World Film Festival, and Best Narrative Film at the 20th Palm Springs International Film Festival. Motoki was selected as best actor at several ceremonies, including at the Asian Film Awards, the Asia Pacific Screen Awards, and the Blue Ribbon Awards; he was also viewers' choice for best actor at the Golden Rooster Awards. At the 29th Hong Kong Film Awards, Departures was selected as Best Asian Film, beating three Chinese films and Ponyo. Following the 21st Nikkan Sports Film Award ceremony, in which Departures won Best Film and Best Director, Takita expressed surprise at the film's awards, saying "I did not know how well my work would be accepted." By December 2009 the film had won 98 awards.

Impact

After the film's success, Sakata Location Box set up a hospitality service called Mukaebito—a pun on the film's Japanese title indicating "one who greets or picks up" another, rather than "one who sends off". The service maintains shooting locations and provides maps of these locations for tourists. In 2009, Location Box opened the building that served as the NK Agent office to the public. For a fee, visitors could enter and view props from the film. Under a job creation program, between 2009 and 2013 the organization received ¥30 million from Yamagata Prefecture and ¥8 million from Sakata City for the building's maintenance and administration. The site attracted nearly 120,000 visitors in 2009, though numbers quickly fell; in 2013 there were fewer than 9,000 visitors. Safety fears due to the building's age led to the Sakata municipal government ending the organization's lease, and the building was closed again at the end of March 2014. At the time, the City Tourism division was considering options, such as limiting visits to the first two floors. The building used as the Concerto café has been open to the public since 2009 as the Kaminoyama Concerto Museum, and the Sakata Minato-za cinema has also been opened to tourists. Takita's hometown of Takaoka, Toyama, maintains a Film Resources Museum; staff have reported that at times over a hundred Takita fans visit per day.

The film's success generated greater interest in encoffining and the nōkanshi. Even the model of hearse driven in the film was merchandised: the Mitsuoka Limousine Type 2-04, a smaller, less expensive version of the film's vehicle, was put on the market on 24 February 2009. The manufacturer, Mitsuoka Motors, is located in Takita's home prefecture of Toyama. In 2013, Kouki Kimura, from a family of nōkanshi, founded the Okuribito Academy together with nurse and entrepreneur Kei Takamaru. It offers training in encoffining, embalming, and related practices.

See also

• Cinema of Japan
• List of submissions to the 81st Academy Awards for Best Foreign Language Film
• List of Japanese submissions for the Academy Award for Best Foreign Language Film

Explanatory notes

1. ^ Before the category was formed in 1956, three Japanese films received honorary awards: Rashomon (Akira Kurosawa; 1951), Gate of Hell (Teinosuke Kinugasa; 1954), and Samurai, The Legend of Musashi (Hiroshi Inagaki; 1955) (MMPAJ). The Japanese-Soviet co-production Dersu Uzala (Akira Kurosawa; 1975) won the award, but it was submitted for the Soviet Union (Armstrong).
2. Also called morticians (湯灌師, yukanshi); yukan is the ceremonial cleansing of the body that comes before the nōkan proper.
3. For a more detailed discussion of the position of kegare and death in Japanese society, see Okuyama 2013, pp. 8–12.
4. Motoki, Masahiro; Silver Insects, eds. (1993). Tenkū Seiza―Hill Heaven 天空静座―Hill Heaven [Tenkuu Seiza—Hill Heaven] (in Japanese). Tōa Dōbunshoin International. ISBN 978-4-8103-7183-3.
5. Shinmon Aoki was born in Toyama Prefecture in 1937, and ran a pub-café until it went out of business, thereafter becoming a mortician as detailed in Coffinman (Tanabe 2009, p. 9).
6. Original: 「その職業はとてもミステリアスで、ある種、エロチックで、すごく映画の世界に近いと感じたんです」.
7. Takita's works in the pink film genre included Chikan Onna Kyōshi (Molestful Female Teacher, 1981), Renzoku Bōran [ja] (Serial Violent Rape, 1983) and Mahiru no Kirisaki-Ma (Midday Ripper, 1984) (Suzuki 2012). By the time he directed Departures, his more mainstream work had already gained international recognition and awards: the 2003 film When the Last Sword Is Drawn, for instance, won Takita his first Japan Academy Prize for Best Film (Sapia staff 2009). Such a career path was not uncommon for directors in Japan in the 1970s and 1980s; the Japan Academy Prize winner Masayuki Suo, for instance, made his debut with Kandagawa Pervert Wars (Suzuki 2012).
8. Motoki was born in 1965 in Saitama and made his professional acting debut in 1981 in the TV drama 2-nen B-gumi Senpachi Sensei (Mr Senpachi of Class 2-B). In 1989 he won the Japan Academy Prize for Best New Actor for his role in Four Days of Snow and Blood [ja] (Weekly Biz staff 2009).
9. In Himitsu, the personality of a man's dead wife takes over the body of the couple's teenage daughter; Hirosue played both the mother and daughter (Schilling 2009, Funereal flick). She was nominated for a Japan Academy Prize for her performance (Nippon Academy-shō Association, 2000).
10. According to Takita, the inclusion of a trans woman in the opening scene was to show both the "grace and gravity of the ritual" as well as indicate that the film would not be a "very heavy" one (Takita 2008, 03:30–03:55).
11. Original: ishibumi (いしぶみ) "Inscribed stone monument".
12. It is a Japanese custom to make haka-mairi (墓参り) visits to the family haka (墓), a grave monument to deceased ancestors.
13. Original: 今回の「おくりびと」っていうのはすべてのバランスが奇跡的につながっていったっていう感じがします。
14. Departures was not the only Japanese film to receive an Academy Award in the 2009 ceremony; Kunio Katō's La Maison en Petits Cubes took the Academy Award for Best Animated Short Film (Tourtellotte & Reynolds 2009).
15. Original: "「作品がどういうふうに受け入れられるか分からなかった」と。"

References

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5. Plutschow 1990, p. 30.
6. Pharr 2006, pp. 134–135.
7. Hosaka 2014, p. 58.
8. Ide 2009, p. 2.
9. ^ Takabe & Wakatsuki 2009, pp. 194–195.
10. Iwata 2008, p. 9.
11. Takabe & Wakatsuki 2009, p. 195.
12. Takabe & Wakatsuki 2009, p. 196.
13. Schilling 2009, Funereal flick; Hale 2009.
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15. Yoshida 2010, p. 43.
16. Schilling 2009, Funereal flick; Takabe & Wakatsuki 2009, p. 198.
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23. ^ Okuyama 2013, p. 13.
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27. ^ Handa 2010, p. 74.
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56. Okuyama 2013, p. 17.
57. Mullins 2010, p. 103.
58. ^ Ebert, Great Movies.
59. Okuyama 2013, p. 16.
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63. ^ Howell 2009.
64. Okuyama 2013, p. 8.
65. Ebert, Departures; Mike Scott 2009.
66. Adams 2009; Sharkey 2009.
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68. Okuyama 2013, p. 10.
69. Katsuta 2008, p. 11; Iwata 2008, p. 8.
70. Ebert, Great Movies; Ebert, Departures.
71. ^ Ebert, Departures.
72. Okuyama 2013, p. 18.
73. ^ Takabe & Wakatsuki 2009, p. 203.
74. Kinema Junpo; Schilling 2009, Producer; Blair 2009, Yojiro Takita; Kilday 2009, Regent.
75. Tourtellotte & Reynolds 2009; Schilling 2009, Producer.
76. Eiga Ranking Dot Com staff; Blair 2009, 'Departures' welcomed; Schilling 2009, Funereal flick.
77. Eiga Ranking Dot Com staff; Blair 2009, 'Departures' welcomed; Schilling 2009, Funereal flick; .Takabe & Wakatsuki 2009, p. 203
78. Schilling 2009, Producer.
79. Shinohara 2013, p. 81.
80. Shinohara 2013, p. 82.
81. Frater 2008; Danielsen.
82. British Board of Film Classification.
83. Tourtellotte & Reynolds 2009; Box Office Mojo.
84. Takahashi 2008.
85. Okuribito.
86. Billboard Japan; Universal Music.
87. CinemaCafé.net staff 2008.
88. おくりびと : ピアノ&チェロ・ピース; WorldCat, おくりびと : on record.
89. Handa 2010, p. 59.
90. Handa 2010, pp. 58, 76.
91. Asahi Shimbun staff 2010, p. 1; Asahi Shimbun staff 2010, p. 2.
92. Asahi Shimbun staff 2010, p. 1.
93. Cinema Topics Online staff 2009.
94. Releases.
95. Tabouring 2010.
96. Spurlin 2010.
97. Mathews 2010.
98. Spurlin 2010; Mathews 2010.
99. Rotten Tomatoes.
100. Metacritic.
101. Shioda 2008, p. 62.
102. Nomura 2008, p. 61.
103. Fukunaga 2008, p. 11.
104. Yamane 2008, p. 5.
105. Katsuta 2008, p. 11.
106. Watanabe 2008, p. 20.
107. Maeda 2008.
108. Yamaguchi.
109. Yamane 2012, p. 352.
110. Schilling 2008, 'Okuribito'.
111. Armstrong.
112. Puig 2009.
113. French 2009.
114. Gleiberman 2009.
115. Barber 2009.
116. Maher 2009.
117. The Daily Telegraph 2009.
118. Kennicott 2009.
119. Cockrell 2008.
120. Potter 2009.
121. Phipps 2009.
122. A. O. Scott 2009.
123. Rayns 2009.
124. Kilday 2009, Regent; Nippon Academy-shō Association, 2009.
125. Sapia staff 2009.
126. Adams 2009; Armstrong; Howell 2009.
127. Itzkoff 2009.
128. Kilday 2009, Regent.
129. Kilday 2009, Palm Springs.
130. Asian Film Awards.
131. APSA, 2009 Winners.
132. Sports Nippon staff 2009.
133. Oricon staff 2008; Ping and Ying 2008.
134. Hong Kong Film Awards Association.
135. Nikkan Sports, Best Film.
136. Schilling 2009, A decade.
137. ^ Yomiuri Shimbun staff 2014.
138. Takabe & Wakatsuki 2009, p. 3.
139. Sōma 2009, p. 1; Kyodo News Staff 2009.
140. Aera staff 2013.

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External links

• Official website (via the Internet Archive)
• Departures at IMDb 
• Departures at Rotten Tomatoes
• Departures at Metacritic

v t e Films directed by Yōjirō Takita

Comic Magazine (1986) Time Adventure: Zeccho 5-byo Mae (1986) Itoshino Half Moon (1987) Kimurake no Hitobito (1988) Nemuranai Machi: Shinjuku Same (1993) We Are Not Alone (1993) Sharan Q no enka no hanamichi (1997) Himitsu (1999) Onmyōji (2001) Onmyōji 2 (2003) When the Last Sword Is Drawn (2003) Ashurajō no Hitomi (2005) The Battery (2007) Departures (2008) Tenchi: The Samurai Astronomer (2012) The Last Recipe (2017) Sakura Guardian in the North (2018)

Awards for Departures

v t e Academy Award for Best International Feature Film 1947–1955 (Honorary) 1947: Shoeshine – Vittorio De Sica 1948: Monsieur Vincent – Maurice Cloche 1949: Bicycle Thieves – Vittorio De Sica 1950: The Walls of Malapaga – René Clément 1951: Rashomon – Akira Kurosawa 1952: Forbidden Games – René Clément 1953: No Award 1954: Gate of Hell – Teinosuke Kinugasa 1955: Samurai, The Legend of Musashi – Hiroshi Inagaki 1956–1975 1956: La Strada – Federico Fellini 1957: Nights of Cabiria – Federico Fellini 1958: My Uncle – Jacques Tati 1959: Black Orpheus – Marcel Camus 1960: The Virgin Spring – Ingmar Bergman 1961: Through a Glass Darkly – Ingmar Bergman 1962: Sundays and Cybèle – Serge Bourguignon 1963: 8½ – Federico Fellini 1964: Yesterday, Today and Tomorrow – Vittorio De Sica 1965: The Shop on Main Street – Ján Kadár & Elmar Klos 1966: A Man and a Woman – Claude Lelouch 1967: Closely Watched Trains – Jiří Menzel 1968: War and Peace – Sergei Bondarchuk 1969: Z – Costa-Gavras 1970: Investigation of a Citizen Above Suspicion – Elio Petri 1971: The Garden of the Finzi-Continis – Vittorio De Sica 1972: The Discreet Charm of the Bourgeoisie – Luis Buñuel 1973: Day for Night – François Truffaut 1974: Amarcord – Federico Fellini 1975: Dersu Uzala – Akira Kurosawa 1976–2000 1976: Black and White in Color – Jean-Jacques Annaud 1977: Madame Rosa – Moshé Mizrahi 1978: Get Out Your Handkerchiefs – Bertrand Blier 1979: The Tin Drum – Volker Schlöndorff 1980: Moscow Does Not Believe in Tears – Vladimir Menshov 1981: Mephisto – István Szabó 1982: Volver a Empezar ('To Begin Again') – José Luis Garci 1983: Fanny and Alexander – Ingmar Bergman 1984: Dangerous Moves – Richard Dembo 1985: The Official Story – Luis Puenzo 1986: The Assault – Fons Rademakers 1987: Babette's Feast – Gabriel Axel 1988: Pelle the Conqueror – Bille August 1989: Cinema Paradiso – Giuseppe Tornatore 1990: Journey of Hope – Xavier Koller 1991: Mediterraneo – Gabriele Salvatores 1992: Indochine – Régis Wargnier 1993: Belle Époque – Fernando Trueba 1994: Burnt by the Sun – Nikita Mikhalkov 1995: Antonia's Line – Marleen Gorris 1996: Kolya – Jan Svěrák 1997: Character – Mike van Diem 1998: Life Is Beautiful – Roberto Benigni 1999: All About My Mother – Pedro Almodóvar 2000: Crouching Tiger, Hidden Dragon – Ang Lee 2001–present 2001: No Man's Land – Danis Tanović 2002: Nowhere in Africa – Caroline Link 2003: The Barbarian Invasions – Denys Arcand 2004: The Sea Inside – Alejandro Amenábar 2005: Tsotsi – Gavin Hood 2006: The Lives of Others – Florian Henckel von Donnersmarck 2007: The Counterfeiters – Stefan Ruzowitzky 2008: Departures – Yōjirō Takita 2009: The Secret in Their Eyes – Juan José Campanella 2010: In a Better World – Susanne Bier 2011: A Separation – Asghar Farhadi 2012: Amour – Michael Haneke 2013: The Great Beauty – Paolo Sorrentino 2014: Ida – Paweł Pawlikowski 2015: Son of Saul – László Nemes 2016: The Salesman – Asghar Farhadi 2017: A Fantastic Woman – Sebastián Lelio 2018: Roma – Alfonso Cuarón 2019: Parasite – Bong Joon-ho 2020: Another Round – Thomas Vinterberg 2021: Drive My Car – Ryusuke Hamaguchi 2022: All Quiet on the Western Front – Edward Berger 2023: The Zone of Interest – Jonathan Glazer v t e Grand Prix des Amériques 1978–2000 Ligabue (1978) 1+1=3 (1979) The Stunt Man / Fontamara (1980) The Chosen (1981) Brimstone and Treacle (1982) The Go Masters (1983) El Norte (1984) Padre nuestro (1985) Betty Blue (1986) Kenny (1987) The Reader (1988) Freedom Is Paradise (1989) Fallen from Heaven (1990) Salmonberries (1991) The Dark Side of the Heart (1992) Betrayal (1993) Once Were Warriors (1994) Georgia (1995) Different for Girls (1996) Children of Heaven (1997) The Quarry / Full Moon (1998) The Color of Paradise (1999) The Taste of Others / Innocence (2000) 2001–present Baran / Abandoned (2001) The Best Day of My Life (2002) The Cordon (2003) The Syrian Bride (2004) Off Screen (2005) A Long Walk / The Greatest Love of All (2006) Ben X / A Secret (2007) Departures (2008) Korkoro (2009) Oxygen (2010) Come as You Are (2011) Where the Fire Burns (2012) Life Feels Good (2013) Perfect Obedience (2014) Mad Love (2015) The Constitution (2016) And Suddenly the Dawn (2017) Curtiz (2018) v t e Hochi Film Award for Best Film The Inugamis (1976) The Yellow Handkerchief (1977) Third Base (1978) Taiyō o Nusunda Otoko (1979) Kagemusha (1980) Enrai (1981) Fall Guy (1982) The Family Game (1983) The Funeral (1984) And Then (1985) Comic Magazine (1986) A Taxing Woman (1987) Tomorrow (1988) Untamagiru (1989) Sakura no Sono (1990) My Sons (1991) Sumo Do, Sumo Don't (1992) All Under the Moon (1993) A Dedicated Life (1994) A Last Note (1995) Shall We Dance? (1996) Welcome Back, Mr. McDonald (1997) Hana-bi (1998) Spellbound (1999) Face (2000) Go (2001) The Twilight Samurai (2002) Doing Time (2003) Nobody Knows (2004) Always: Sunset on Third Street (2005) Hula Girls (2006) I Just Didn't Do It (2007) Departures (2008) The Unbroken (2009) Villain (2010) Rebirth (2011) Key of Life (2012) The Great Passage (2013) 0.5 mm (2014) Solomon's Perjury (2015) Her Love Boils Bathwater (2016) Wilderness (2017) The Blood of Wolves (2018) Listen to the Universe (2019) The Voice of Sin (2020) In the Wake (2021) A Man (2022) The Moon (2023) Faceless (2024) v t e Japanese submission for Academy Award for Best International Feature Film 1951–1980 Rashomon (1951) Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) The Burmese Harp (1956) Aruse (1957) The Ballad of Narayama (1958) Fires on the Plain (1959) Late Autumn (1960) Immortal Love (1961) Being Two Isn't Easy (1962) Twin Sisters of Kyoto (1963) Woman in the Dunes (1964) Kwaidan (1965) Lake of Tears (1966) Portrait of Chieko (1967) The Sands of Kurobe (1968) Profound Desires of the Gods (1969) The Scandalous Adventures of Buraikan (1970) Dodes'ka-den (1971) Under the Flag of the Rising Sun (1972) Coup d'État (1973) The Fossil (1974) Sandakan No. 8 (1975) Mount Hakkoda (1977) Empire of Passion (1978) Gassan (1979) Kagemusha (1980) 1981–2000 Muddy River (1981) Onimasa (1982) Antarctica (1983) MacArthur's Children (1984) Gray Sunset (1985) Final Take (1986) Zegen (1987) Hope and Pain (1988) Rikyu (1989) The Sting of Death (1990) Rhapsody in August (1991) The Oil-Hell Murder (1992) Madadayo (1993) Pom Poko (1994) Deep River (1995) Gakko II (1996) Princess Mononoke (1997) Begging for Love (1998) Poppoya (1999) After the Rain (2000) 2001–2020 Go (2001) Out (2002) The Twilight Samurai (2003) Nobody Knows (2004) Blood and Bones (2005) Hula Girls (2006) I Just Didn't Do It (2007) Departures (2008) Nobody to Watch Over Me (2009) Confessions (2010) Postcard (2011) Our Homeland (2012) The Great Passage (2013) The Light Shines Only There (2014) 100 Yen Love (2015) Nagasaki: Memories of My Son (2016) Her Love Boils Bathwater (2017) Shoplifters (2018) Weathering with You (2019) True Mothers (2020) 2021–present Drive My Car (2021) Plan 75 (2022) Perfect Days (2023) Cloud (2024) v t e Japan Academy Film Prize for Best Film The Yellow Handkerchief (1977) The Incident (1978) Vengeance Is Mine (1979) Zigeunerweisen (1980) Station (1981) Fall Guy (1982) The Ballad of Narayama (1983) The Funeral (1984) Gray Sunset (1985) House on Fire (1986) A Taxing Woman (1987) The Silk Road (1988) Black Rain (1989) Childhood Days (1990) My Sons (1991) Sumo Do, Sumo Don't (1992) A Class to Remember (1993) Crest of Betrayal (1994) A Last Note (1995) Shall We Dance? (1996) Princess Mononoke (1997) Begging for Love (1998) Poppoya (1999) After the Rain (2000) Spirited Away (2001) The Twilight Samurai (2002) When the Last Sword Is Drawn (2003) Half a Confession (2004) Always: Sunset on Third Street (2005) Hula Girls (2006) Tokyo Tower: Mom and Me, and Sometimes Dad (2007) Departures (2008) Shizumanu Taiyō (2009) Confessions (2010) Rebirth (2011) The Kirishima Thing (2012) The Great Passage (2013) The Eternal Zero (2014) Our Little Sister (2015) Shin Godzilla (2016) The Third Murder (2017) Shoplifters (2018) The Journalist (2019) Midnight Swan (2020) Drive My Car (2021) A Man (2022) Godzilla Minus One (2023) v t e Kinema Junpo Award for Best Film 1927–1940 Ashi ni sawatta onna (1927) A Diary of Chuji's Travels (1928) Jobless Samurai (1929) Beheading Place (1930) What Made Her Do It? (1931) The Neighbor's Wife and Mine (1932) I Was Born, But... (1933) Passing Fancy (1934) A Story of Floating Weeds (1935) Wife! Be Like a Rose! (1936) Sisters of the Gion (1937) Limitless Advance (1938) Five Scouts (1939) Earth (1940) 1941–1960 Kojima no haru (1941) The Brothers and Sisters of the Toda Family (1942) The War at Sea from Hawaii to Malay (1943) Morning for the Osone Family (1947) A Ball at the Anjo House (1948) Drunken Angel (1949) Late Spring (1950) Until We Meet Again (1951) Early Summer (1952) Ikiru (1953) An Inlet of Muddy Water (1954) Twenty-Four Eyes (1955) Floating Clouds (1956) Darkness at Noon (1957) The Rice People (1958) The Ballad of Narayama (1959) Kiku to Isamu (1960) 1961–1980 Her Brother (1961) Bad Boys (1962) Being Two Isn't Easy (1963) The Insect Woman (1964) Woman in the Dunes (1965) Red Beard (1966) The Great White Tower (1967) Samurai Rebellion (1968) The Profound Desire of the Gods (1969) Double Suicide (1970) Where Spring Comes Late (1971) The Ceremony (1972) The Long Darkness (1973) Tsugaru Folk Song (1974) Sandakan No. 8 (1975) Kenji Mizoguchi: The Life of a Film Director (1976) The Youth Killer (1977) The Yellow Handkerchief (1978) Third Base (1979) Vengeance Is Mine (1980) 1981–2000 Zigeunerweisen (1981) Muddy River (1982) Fall Guy (1983) The Family Game (1984) The Funeral (1985) And Then (1986) The Sea and Poison (1987) A Taxing Woman (1988) My Neighbor Totoro (1989) Black Rain (1990) The Cherry Orchard (1991) My Sons (1992) Sumo Do, Sumo Don't (1993) All Under the Moon (1994) A Dedicated Life (1995) A Last Note (1996) Shall We Dance? (1997) The Eel (1998) Fireworks (1998) Wait and See (2000) 2001–present Face (2001) Go (2002) The Twilight Samurai (2003) A Boy's Summer in 1945 (2004) Nobody Knows (2005) Break Through! (2006) Hula Girls (2007) I Just Didn't Do It (2008) Departures (2009) Dear Doctor (2010) Villain (2011) Postcard (2012) Our Homeland (2013) Pecoross' Mother and Her Days (2014) The Light Shines Only There (2015) Three Stories of Love (2016) In This Corner of the World (2017) The Tokyo Night Sky Is Always the Densest Shade of Blue (2018) Shoplifters (2019) It Feels So Good (2020) Wife of a Spy (2021) Drive My Car (2022) Small, Slow But Steady (2023) Okiku and the World (2024) v t e Mainichi Film Award for Best Film Aru yo no Tonosama (1946) Ima Hitotabi no (1947) Drunken Angel (1948) Late Spring (1949) Until We Meet Again (1950) Repast (1951) Ikiru (1952) An Inlet of Muddy Water (1953) Twenty-Four Eyes (1954) Floating Clouds (1955) Mahiru no ankoku (1956) The Rice People (1957) The Ballad of Narayama (1958) Kiku to Isamu (1959) Her Brother (1960) A Soldier's Prayer (1961) Harakiri (1962) High and Low (1963) Woman in the Dunes (1964) Red Beard (1965) The Great White Tower (1966) Samurai Rebellion (1967) The Profound Desire of the Gods (1968) Double Suicide (1969) Where Spring Comes Late (1970) Silence (1971) The Long Darkness (1972) Tsugaru Folk Song (1973) Castle of Sand (1974) The Fossil (1975) Fumō Chitai (1976) The Yellow Handkerchief (1977) The Incident (1978) Nomugi Pass (1979) Kagemusha (1980) Muddy River (1981) Fall Guy (1982) Merry Christmas, Mr. Lawrence (1983) W's Tragedy (1984) Ran (1985) The Sea and Poison (1986) A Taxing Woman (1987) My Neighbor Totoro (1988) Black Rain (1989) Childhood Days (1990) My Sons (1991) Sumo Do, Sumo Don't (1992) All Under the Moon (1993) A Dedicated Life (1994) A Last Note (1995) Shall We Dance? (1996) Princess Mononoke (1997) Begging for Love (1998) Poppoya (1999) Face (2000) Spirited Away (2001) The Twilight Samurai (2002) Akame 48 Waterfalls (2003) Blood and Bones (2004) Break Through! (2005) Sway (2006) I Just Didn't Do It (2007) Departures (2008) The Unbroken (2009) Villain (2010) Postcard (2011) A Terminal Trust (2012) The Great Passage (2013) My Man (2014) Three Stories of Love (2015) Shin Godzilla (2016) Hanagatami (2017) Shoplifters (2018) Listen to the Universe (2019) Mother (2020) Drive My Car (2021) Small, Slow But Steady (2022) Okiku and the World (2023) v t e Nikkan Sports Film Award for Best Film A Chaos of Flowers (1988) Black Rain (1989) Childhood Days (1990) My Sons (1991) Sumo Do, Sumo Don't (1992) A Class to Remember (1993) Crest of Betrayal (1994) Sharaku (1995) Shall We Dance? (1996) Aisuru (1997) Begging for Love (1998) Poppoya (1999) 15 Sai Gakkō IV (2000) Spirited Away (2001) The Twilight Samurai (2002) Like Asura (2003) Blood and Bones (2004) Break Through! (2005) Hula Girls (2006) I Just Didn't Do It (2007) Departures (2008) Dear Doctor (2009) Villain (2010) Postcard (2011) A Terminal Trust (2012) The Great Passage (2013) The Eternal Zero (2014) Solomon's Perjury (2015) 64: Part I - Part II (2016) Wilderness (2017) Shoplifters (2018) The Journalist (2019) The Voice of Sin (ja) (2020) Drive My Car (2021) Anime Supremacy! (2022) The Moon (2023) v t e Yokohama Film Festival Award for Best Film Taiyō o Nusunda Otoko (1980) Zigeunerweisen (1981) Something Like It (1982) Exchange Students (1983) The Family Game (1984) Mahjong hōrōki (1985) Love Hotel (1986) House of Wedlock (1987) The Emperor's Naked Army Marches On (1988) Rock yo shizukani nagareyo (1989) Dotsuitarunen (1990) Sakura no Sono (1991) A Scene at the Sea (1992) Sumo Do, Sumo Don't (1993) All Under the Moon (1994) Tokarefu (1995) Love Letter (1996) Kids Return (1997) Onibi (1998) Cure (1999) Keiho (2000) Face (2001) Go (2002) Hush! (2003) Vibrator (2004) Kamikaze Girls (2005) Break Through! (2006) Sway (2008) I Just Didn't Do It (2008) Departures (2009) Dear Doctor (2010) 13 Assassins (2011) Someday (2012) The Kirishima Thing (2013) The Devil's Path (2014) The Light Shines Only There (2015) Our Little Sister (2016) In This Corner of the World (2017) The Tokyo Night Sky Is Always the Densest Shade of Blue (2018) Asako I & II (2019) It Feels So Good (2020) Labyrinth of Cinema (2021) Intolerance (2022) Love Is Light (2023) Small, Slow But Steady (2024) All the Long Nights (2025)

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