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==Reception==
WritingUpon its original release, [[Kevin Thomas (film critic)|Kevin Thomas]] of ''[[The Los Angeles Times]]'' praised ''Beijing Watermelon'' as "an eloquent commentary on the magic of the cinema itself" that "bring[s] to mind the films of [[Frank Capra]]."<ref name="LAT"/> In an essay about the restoration of the film for [[Metrograph]], Matt Turner describes ''Beijing Watermelon'' as a film "about finding connections and commonalities despite differences of nationality, culture, and class" but where the "imaginative side of Obayashi is still much on display", comparing it to the works of [[Yasujirō Ozu]] and [[Robert Altman]].<ref name="Metrograph"/> The [[Gene Siskel Film Center]] similarly described the film as "Ôbayashi at his most modern, while his experimental flourishes invite viewers to fill in the blanks of history".<ref name="Siskel"/> ▼
▲Writing for [[Metrograph]], Matt Turner describes ''Beijing Watermelon'' as a film "about finding connections and commonalities despite differences of nationality, culture, and class" but where the "imaginative side of Obayashi is still much on display", comparing it to the works of [[Yasujirō Ozu]] and [[Robert Altman]].<ref name="Metrograph"/> The [[Gene Siskel Film Center]] similarly described the film as "Ôbayashi at his most modern, while his experimental flourishes invite viewers to fill in the blanks of history".<ref name="Siskel"/>
==References==
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