Cafe Lumiere was commissioned as part of a series to commemorate the centenary of Ozu's birth. It does not mimic the filmic mastery of Ozu; rather, it pays tribute to one of the greatest of filmmakers of all time. Hou Hsiao-Hsien succeeds remarkably in echoing Ozu's beautiful, rigorous, deeply affecting spirituality. It is Tokyo 2003. Young Yoko befriends Hajime. With him, she experiences an unusual and profound peace of mind. For his part, Hajime is in love with Yoko, but remains silent. When Yoko tells her father and step-mother she is pregnant, and has no intention of marrying her Taiwanese lover, they are deeply concerned for her future. Hajime too, is shocked, but cannot articulate his feelings. Gradually, Yoko comes to re-evaluate everything: her life, her family, the child growing inside her. Hou keeps most of the major events in the fiIm off -screen. His focus is the settings that his characters move around in - trains, cafes, and bookshops. The nostalgia he evokes is palpable amidst the dreamlike narrative. The plot is minimal, but the style itself is rich enough to communicate the themes of the past and history that are so important in Hou's work.