Movie quiz: What is the longest-running film this year in Honolulu?

Answer: It's the Japan-made "Departures," last season's best foreign language film Oscar winner, the year's most enduring movie showing for 16 continuous weeks — and still ticking.

It simply refuses to depart. It's been ensconced at the Kahala Theaters since June 19 (with a brief run at a Kapolei screen).

Why? "Departures" has steadily generated the best word-of-mouth buzz that also doesn't quit.

It's been a recurring wonderment at the office water cooler, discussed over family dinners and lunch breaks.

And provoking you-gotta-go-see-it-e-mails and chats.

"Departures" is filled with tender snapshots of a unique cultural practice, performed by an unknown but splendid cast, and it transcends language and traditions to speak honestly about who we are and why we care and dare to do what we need to.

Death is part of the landscape but the movie ultimately is a reaffirmation of life. It makes you laugh and cry; it taps elements of hope, ritual, love, shame, dignity, disgust, discovery, recovery and more, as it explores the unique Japanese practice of encoffinment — preparing bodies for the final journey.

Best of all, it touches the heart — and puts values in the forefront.

"It's had overwhelming response," said Rachel Gibson, promotions and events manager at Consolidated Theatres, which operates the Kahala multiplex. It opened at one of the smaller theaters and one week was bumped up to the big screen because of mounting interest and attention.

"It's doing phenomenally; a few come back again and again, and there's a sense of bonding with everyone coming out of the theater," Gibson said. "It's this year's 'Slumdog Millionaire.' I wish we had eight 'Departures' playing at once."

Perhaps one other reason for the flick's stick-to-it-tivity.

The movie has been a perfect fit for the Kahala venue, which hosts foreign flicks and art films in the mix of fare, a dedication previously associated with the now-gone Varsity Theatre. The mall seems to be a destination for older folks who avoid the megaplexes in the 'burbs; you can go to Whole Foods afterward, chow down at The Counter or Chili's, go shopping at Macy's.

The story, if you haven't seen the film yet, is about a cellist, Daigo (Masahiro Motoki, who discovers his destiny), who learns his Tokyo symphony orchestra is shutting down -meaning he has to go job hunting.

Immediately, there's common ground — this has been a season of job losses and bad times here and everywhere else — as he moves with his wife to the digs of his late mom, which doubled as a pub, to save on rent.

He sees a help wanted ad for "departures," anticipating work with a travel agency, but discovers that the position is for a nokanshi, or encoffineer, in mortuary lingo — one who prepares the deceased for the ritualistic ceremony of cleansing before cremation.

Initially, this may be discomforting, but director Yojiro Takita balances sadness with laughter at unexpected turns. Like when Daigo conducts his first ceremonial task, under the tutelage of his boss, Sasaki (Tsutomu Yamazaki, wonderfully droll but caring), before mourning survivors of a woman being prepped for her final voyage. There's tense anticipation, then a burst of humor. It's a moment to cherish and remember.

When Daigo's wife, Mika (Ryoko Hirosue, reflecting most folks' inner feelings) learns about the nature of his work, she is appalled. "Don't touch me!," she shouts to Daigo. "You're unclean." Then she abandons him.

Thus, the film is uncommonly human and humane, balancing the dichotomy of pain and pleasure, obligation and dedication, outrage and joy.

The pace and precision are often glacial, gliding slowly and deliberately with all the pretense of a ritualistic Japanese tea ceremony. The film is enriched by an absorbing, emotional score by Joe Hisaishi, who is regarded as the John Williams of cinematic music.

In the final wash, the respect for life, love, family and commitment prevails. One clue to remember: a stone Daigo links to his estranged dad figures in the uplifting finale that provides personal closure.

So when will "Departures" finally depart?

Consolidated's Gibson said, "When interest wanes, we shut it down; but I think we still have some time left."

So if you've been intending to see "Departures," what are you waiting for?