The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
Kore-eda discusses what motivated him to make his Palme d’Or-winning triumph.
In Shoplifters, writer-director Hirokazu Kore-eda dramatizes the insidious and relativistic ordinariness of poverty.
Hirokazu Kore-eda delights in piling on complications that lead us away from the question of Misumi’s guilt.
The epitome of grace, Kore-eda discusses the lightness of touch that’s become his signature.
The stock character types that Kore-eda employs across the board are pretty much open books from the start.
The Hirokazu Kore-eda film’s reserve softens some of its more piquant observations about tradition and mortality.
The film scores all of its thematic points early, commenting intriguingly, if ultimately rather obviously, on the demands of Japanese patriarchy.
The Avengers will assemble for what may be the most overstuffed tent-pole ever, and Katy Perry will unleash the first movie that could actually give you cavities.
A sex-toy Pinocchio? Offenbach’s Olympia as an inflatable courtesan? If only.