Yasujiro Ozu (Tokyo, December 12, 1903) is But the house, as a spatial and emotional focus of the characters, will never have been a starting point for a study or interpretation. The onion house of Gaston Bachelard is thus the gateway to the onyrich, cinematic, Ozu house.

From the analysis of scenes from some of his films is raised the following problem: what relevance has for Ozu the threat to the stability of family cycles?

Ozu makes us feel that we live full pieces of the characters ' lives, building their narratives around life cycles. Another aim of the present study is to try to realize how it is used the bile time (within the plans, of the montage between plans and between scenes) relating the idea of threat or rupture of an emotional state with the concepts of time, duration and narrative cycle. It is also intended to understand how Ozu constructs the idea of cycle and its regeneration by seeking to relate these findings with a gaze of the achiever on the world that films. Finally, a reflection is proposed about the artistic nature of cinema having as a reference the work of Ozu.