They have a little boy, and there is a sunny scene in which she bathes him. Then an inexplicable event takes place, and she is widowed. At 25, she starts her life again. Ozu is one of the four or five greatest directors of all time, and some of his visual touches are visible here. The camera, for example, is often placed at the eye level of someone kneeling on a tatami mat.
Shots begin or end on empty rooms.
Characters speak while seated side by side, not looking at one another. I mention them because they indicate the care with which this beautiful film has been made, and they suggest its tradition. It is not a soap opera. There isn't a shot in the movie that's not graceful and pleasing. We get an almost physical sensation for the streets and rooms.