Consider Mizoguchi's visual style. There are almost no close-ups, and there is almost no use of expressive montage. The film is composed mostly of long takes, with a highly mobile camera (pans, tracking shots, and crane shots), and careful attention to framing and lighting. Compositions are often arranged along diagonals. Much attention is paid to the slightest postures and gestures of the characters (think of the repeated action of Zushio and Anju tearing off a branch; think also of the use of the mother's song as a repeating motif). At the same time, these characters are positioned in the natural landscape which extends far beyond them, and whose beauty seems to be contemplated for its own sake. Think about how all of these techniques work in the interest of emotional expression. How does Mizoguchi's use of a style based in mise-en-scene differ from other uses of such a style that we have seen (Renoir, Welles, etc.)?
Mizoguchi is often seen as a filmmkaer who has an unusual (for male directors) empathy for victimized female characters. Consider the depiction of the mother and sister in this film. How do we respond to the dimensions of their plight? How do we identify with them, or not? How do you regard their lack of positive agency?