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Film Review: ‘The Third Murder’

Film Review: ‘The Third Murder’
It was probably time for Hirokazu Kore-eda to take a break from the tender seriocomedies about parents and children that have occupied his last decade, given that 2016’s “After the Storm” was a good film — yet also the least of his efforts in that terrain. Still, even those who pine for the chillier tenor and themes of earlier features (like “Nobody Knows,” “Distance” and “After Life”) are likely to greet “The Third Murder” with mixed emotions. This entirely dialogue-driven drama focuses on a mid-career lawyer whose jaded professionalism is shaken when he takes on a client charged with homicide but whose story seems to change with every telling.

Trouble is, that confessional “truth” changes so many times we cease to care what it might turn out to be — and in any case, Kore-eda leaves “whodunit” (let alone why) unanswered here. Ambiguity can be powerful in a mystery, yet “Murder’s” somewhat ponderously literal-minded attention to legal procedure
See full article at Variety - Film News »

China's arthouse circuit to release Kore-eda's 'The Third Murder' (exclusive)

China's arthouse circuit to release Kore-eda's 'The Third Murder' (exclusive)
Courtroom drama to be released in Q1, 2018.

Hirokazu Kore-eda’s The Third Murder will be distributed theatrically by China’s new arthouse circuit, the National Alliance of Arthouse Cinemas (Naac), in the first quarter of 2018.

Source: Gaga Corp

The Third Murder

The Japanese courtroom drama, sold by Gaga Corp in Asian territories, is the first Asian title to be selected by the Naac, excluding classic titles that the alliance has been distributing since its launch in 2016.

The release will also mark the first time that Kore-eda, one of Japan’s leading auteurs with credits including Like Father, Like Son and Nobody Knows, has had a film released theatrically in mainland China.

Produced by Fuji Television, Amuse and Gaga, The Third Murder revolves around a lawyer defending a self-confessed murderer who begins to question his own faith in the legal process. The cast is headed by Fukuyama Masaharu, who also starred in John Woo’s recent crime thriller [link=tt
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Gaga, Wild Bunch Board Hirokazu Kore-eda Drama

Gaga, Wild Bunch Board Hirokazu Kore-eda Drama
Kore-eda Hirokazu, the Japanese auteur celebrated for “Like Father Like Son,” has begun production of a drama about a family of small-time crooks. The untitled picture will be ready for mid-year and will be released in Japan in June through Gaga Corporation.

The film is produced by Fuji Television Network, Inc., Gaga, and Aoi Pro. International sales are handled by Gaga within Asia and by Wild Bunch for the rest of the world.

The story, which the director has been developing for some 10 years, involves a small girl who is taken in by a family of shoplifters. Lily Franky (“Like Father Like Son”) plays the father, Ando Sakura plays the mother. The film involves two child stars Sasaki Miyu and Jyo Kairi (the family’s existing son) making their film debuts.

Koreeda’s last film “The Third Murder” united him with another “Like Father Like Son” star Masahara Fukuyama. It played in the Venice and Toronto festivals
See full article at Variety - Film News »

Ando Sakura, Lily Franky to star in new Kore-eda project

Ando Sakura, Lily Franky to star in new Kore-eda project
Kore-eda won critical acclaim last year for crime drama The Third Murder, which premiered at Venice.

Source: Hiroshi Nomura

Japan’s Gaga Corp has unveiled details of Hirokazu Kore-eda’s new as-yet-untitled project, which is currently shooting with a cast including Ando Sakura and Lily Franky.

Franky and child actor Jyo Kairi play a father and son from a poor family who take in a small girl (Miyu Sasaki) they find freezing on the streets after one of their shoplifting sessions together. Ando plays the mother with Mayu Matsuoka as her sister and Kiki Kirin as the grandmother on whose pension the family is heavily dependent.

While Franky and Kiki are both Kore-eda regulars, the film marks the first time that Ando and Matsuoka have worked with the director.

Ando is known for her roles in critically-acclaimed independent films including 100 Yen Love and Love Exposure, while Matsuoka’s credits include the Chihayafuru series and Kirishima Thing. Both child
See full article at ScreenDaily »

Two In Tents: Akihiko Shiota's "Wet Woman in the Wind"

  • MUBI
Close-Up is a feature that spotlights films now playing on Mubi. Akihiko Shiota's Wet Woman in the Wind (2016), which is receiving an exclusive global online premiere on Mubi, is showing from November 24 - December 24, 2017 as a Special Discovery.Much like Hollywood, the Japanese film industry goes to the well as often as possible once it hits a lucky strike. Such was the case with the so-called Roman Porno films of the 1970s, an infamous genre of sexploitation primarily identified with Japan’s oldest major studio, Nikkatsu. Financial trouble necessitated a popular, inexpensive product, and these softcore numbers were just the ticket. This may have been the studio where Kenji Mizoguchi and Shohei Imamura made films early in their careers, but by 1971 the Roman Porno factory was in full swing, producing quick, cheap, titillating product for an audience hungry for female toplessness and a great deal of convulsive thrusting.
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‘The Third Murder’ Trailer: Hirokazu Kore-eda Goes Off Brand For Legal Drama

Hirokazu Kore-eda is known for a gentler kind of cinema, telling deeply human and intimate stories in pictures like “Nobody Knows,” “Hana,” “Still Walking,” “Like Father, Like Son” and “After The Storm.” However, the director is switching gears considerably and tackling the kind of movie we’d never expect from the patient, quiet filmmaker: a legal drama.

Continue reading ‘The Third Murder’ Trailer: Hirokazu Kore-eda Goes Off Brand For Legal Drama at The Playlist.
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The Best Movies About the Afterlife — IndieWire Critics Survey

The Best Movies About the Afterlife — IndieWire Critics Survey
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

This week’s question: In honor of David Lowery’s “A Ghost Story,” what is the best movie about the afterlife?

Kate Erbland (@katerbland), IndieWire

It will come as no surprise to anyone that, as a child, I watched a lot of television. A lot. I was mostly obsessed with HBO — our single movie channel, number 2 on the dial; yes, my childhood TV had a dial, don’t ask — with intermittent deviations into mostly inappropriate mini-series (thus explaining my rarely disclosed expertise on “The Thornbirds”), and was pretty much given free range to watch whatever the hell I wanted, whenever I wanted. This is why my favorite
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Hirokazu Koreeda Goes Genre With First Teaser Trailer For Thriller ‘The Third Murder’ [Watch]

As anyone who’s ever observed our Slack channel and spotted the custom-made emoji of the director we created, we’re big fans here at the Playlist of the Japanese filmmaker Hirokazu Koreeda. For two decades now, the filmmaker has won fans around the world for his gentle, deeply human dramas like “Nobody Knows,” “Hana,” “Still Walking” and “Air Doll,” and more recently with festival favorites like “I Wish,” Cannes Jury award winner “Like Father, Like Son” and last year’s “After The Storm.”

To many, he’s become the natural successor to the great director Yasujiro Ozu, his films taking set-ups that could be melodramatic and making them with compassion, humor and skill.

Continue reading Hirokazu Koreeda Goes Genre With First Teaser Trailer For Thriller ‘The Third Murder’ [Watch] at The Playlist.
See full article at The Playlist »

‘After The Storm’ Review: Hirokazu Kore-eda Only Makes Great Movies, But This Tender Drama Is One of His Best

‘After The Storm’ Review: Hirokazu Kore-eda Only Makes Great Movies, But This Tender Drama Is One of His Best
Hirokazu Kore-eda first established himself as a major filmmaker with a string of audacious dramas that included a harrowing portrait of modern poverty (“Nobody Knows”) and a transcendent vision of the great beyond (“After Life”). In recent years, however — at least since 2009’s “Air Doll,” a contemporary fairy tale in which Bae Doo-na plays an inflatable sex doll who comes to life — the great Japanese humanist has downshifted towards more openly sentimental slice-of-life stories, churning out low-key masterpieces with such regularity and deceptive effortlessness that it can be easy to take them for granted.

So when Kore-eda unloads another gently brilliant film full of characters so real and full of life that it feels as though could fly to Japan and visit them, it may not seem like much cause for celebration. But when one of those films is just the tiniest bit above his batting average, it’s enough
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Hirokazu Kore-eda on Fatherhood, Typhoons, and ‘After the Storm’

There is no filmmaker in the world more attuned to the complexities of family life than Japan’s Hirokazu Kore-eda. Consider the emotional upheaval that faces the parents and children of 2013’s Like Father, Like Son, or the relationship between the sisters of 2015’s Our Little Sister. Koreeda’s latest film following those two gems, After the Storm, continues his warm but ever-truthful gaze at what bonds people together. (Film Movement opens Storm on March 17 in New York and Los Angeles.)

Set against the backdrop of an approaching typhoon, Storm is the story of a failing author (Hiroshi Abe) struggling to pay his child support, and his attempts at rebuilding relationships with his son (Taiyo Yoshizawa) and ex-wife (Yoko Maki). As sweet and funny as the last two great Kore-eda films, Storm also has the sharp insight of earlier masterpieces like Nobody Knows and Still Walking.

Currently working on his next film,
See full article at The Film Stage »

Hirokazu Koreeda presents another Japanese masterpiece with “After the Storm”

During the last two decades, Hirokazu Koreeda has emerged as the contemporary master of Japanese family drama, with films like “Nobody Knows”, “Still Walking”, “Like Father, Like Son” and many more. “After the Storm” continues his legacy in the genre.

A lowlife and his family

Ryota, an ex prize-winning novelist has fallen on hard times. He has stopped writing and currently works in a Pi agency. However, he spends the money he earns (with shady tactics) on gambling, and is constantly broke. His wife, Kyoko has divorced him, and since he does not pay his alimony, she does not let him see his son. In order to cope, he tries to earn money by pawning stuff from his parents’ house, although his mother, Yoshiko, is on to him, as is everybody else.

Furthermore, when he discovers that his wife is meeting someone, he starts stalking her, since he does not
See full article at AsianMoviePulse »

[Cannes Review] After the Storm

Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being meditated on in After the Storm, a sobering, transcendent tale of a divorced man’s efforts to nudge back into his son’s life. Beautifully shot by regular cinematographer Yutaka Yamasaki, it marks a welcome and quite brilliant return to serious fare for writer-editor-director Hirokazu Kore-eda following last year’s Our Little Sister, widely regarded as one of the slightest works of his career thus far.

Recent Kore-eda regular Abe Hiroshi plays Ryota, a prize-winning author struggling to live up to the success of his first novel. He’s a father of one, a gambling addict, and probably a bit of an asshole. We learn the man’s been researching for his follow-up book by moonlighting as a private eye. The job adds an
See full article at The Film Stage »

U.S. Trailer for Hirokazu Koreeda’s Cannes Drama ‘Our Little Sister’

It is with a bit of embarrassment that I admit, amid Cannes’ overwhelming shuffle and hullabaloo, I’d failed to notice a new film from Hirokazu Koreeda. I was not alone, however. While one of the few consistently fêted contemporary Japanese filmmakers offering a new picture might seem like a bigger deal, we can understand when notices were generally lukewarm, the consensus telling us this, unfortunately, is not one of his better works.

I’ll nevertheless be curious to see the film, Our Little Sister, when it arrives in the U.S. this summer — especially on the strength of a new trailer, which often brings to mind his great Nobody Knows. This, despite our own negative take from the festival, which said, “Adapted from Akimi Yoshida’s highly successful manga Umimachi Diary, Our Little Sister is once again an examination of the dynamics amongst the members of a damaged family.
See full article at The Film Stage »

Film Review: Our Little Sister

  • CineVue
★★★☆☆ Japan's Hirokazu Kore-eda returns to UK cinemas with Our Little Sister, adapted from the Akimi Yoshida's manga comic. It tells the story of three grown women who live in their late grandmother's house and fend for themselves, as if a version of the family from Kore-eda's excellent Nobody Knows had somehow managed to make it into adulthood and self-sufficiency. Mother and father have divorced. Dad has another family now (they think) and mother is mainly absent, an intermittent but rare visitor. The sisters get along just fine without them, bickering and fighting and making up the way sisters do.
See full article at CineVue »

Watch: New U.K. Trailer For Hirokazu Kore-Eda's 'Our Little Sister'

While no one is making video essays about his work, and he doesn't grab the immediate attention of folks like Martin Scorsese, Paul Thomas Anderson, or the Coens, Hirokazu Kore-eda is one of our favorite filmmakers around these parts. The man behind lovely and affecting dramas like "Like Father, Like Son," "Still Walking," "Nobody Knows," and "After Life," his pictures are distinctly Hirokazu Kore-eda-esque, and that continues with his latest, "Our Little Sister." Read More: Review: Hirokazu Kore-Eda's 'Our Little Sister' Starring Sachi Koda, Yoshino Koda, Chika Koda, and Suzu Asano, and based on the graphic novel "Umimachi Diary" by Akimi Yoshida, the story follows three sisters who meet their teenage half-sister for the first time at their father's funeral. Here's the synopsis:  Three sisters - Sachi, Yoshino and Chika - live together in a large house in the city of Kamakura. When their father -.
See full article at The Playlist »

Hirokazu Kore-eda Wraps New Film 'After The Storm,' Likely Headed To Cannes

Hirokazu Kore-eda, a filmmaker perhaps best known for efforts like "After Life," "Still Walking" and "Nobody Knows," has been a steady tear lately. In 2013, he went to Cannes and walked away with the Jury Prize and the Ecumenical Jury Prize for the lovely and moving "Like Father Like Son." While his return this year to the Croisette with "Our Little Sister" was less well received, he's pressing on and is poised for another trip to the festival in the spring. Read More: Cannes Review: 'Like Father, Like Son' A Tender, Loving Portrait Of Parenthood Production has wrapped on Kore-eda's next film "After The Storm." Hiroshi Abe and Kirin Kiki star in the movie about an award-winning author in the shadow of former glory who tries to reconnect with this family. Here's the official synopsis:  Dwelling on his past glory as a prize-winning author, Ryota (Hiroshi Abe) wastes the money he makes as a private.
See full article at The Playlist »

Three Sisters with Laden Hearts: Hirokazu Koreeda and the Non-traditional Family

It was interesting to note the reaction, head bowed in a pained half-smile, of Japanese director Hirokazu Koreeda when hit with his first Cannes press conference question this year: “Is this an homage to Ozu?” or at least something to that extent. In fairness, it’s probably a question the man is sick of hearing at this point, but in the case of Our Little Sister it’s not quite as wayward or as ignorant as one might think. Indeed, Koreeda acknowledges as much in response: admitting to revisiting some of the master’s work in preparation for the project, or perhaps simply in preparation for such questions. And he’s right: there are similarities, and more than enough to provoke such a question. The opening shots alone of a sleepy suburban neighborhood, houses split by an unseen railway line whose heavy clients must shake these small abodes to their foundations,
See full article at SoundOnSight »

2015 Cannes Critics’ Panel Day 2: Kore-eda Needs No Introductions with “Our Little Sister”

The race for the Palme d’Or officially begins today. It’s day 2 at the 2015 Cannes Film Festival which means the press core and as per usual, our Cannes Critics’ Panel are already in game mode. New this year to the our sweet sixteen group (you can follow them all on twitter) areMarc-André Lussier (La Presse), Jean-Philippe Guerand (Le Film Français), Aaron Hillis (the proprietor of Video Free Brooklyn who needs no introduction — penning for Filmmaker Magazine & Vice), and joining stalwarts Nicholas Bell and Blake Williams we find Yama Rahimi. Looks for grades on all nineteen Main Comp offerings plus as added bonus: Gaspar Noé’s Love.

The first film to uncork the ’15 edition is a filmmaker who is technically more synonymous with the Toronto Int. Film Festival than the French riviera. This nonetheless marks Hirokazu Kore-eda‘s fifth trip to Cannes with his last picture Like Father,
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Cannes: Sony Pictures Classics Acquires ‘Our Little Sister’ (Exclusive)

Cannes: Sony Pictures Classics Acquires ‘Our Little Sister’ (Exclusive)
Sony Pictures Classics has acquired U.S. distribution rights for the Cannes in-competition drama “Our Little Sister” (“Umimachi Diary”) directed by Hirokazu Kore-eda, Variety has learned.

Sold by Wild Bunch, the Japanese family film is an adaptation of Akimi Yoshida’s popular serialized comic about four sisters living in the eponymous city. Cast is headlined by Masami Nagasawa, Haruka Ayase and Suzu Hirose. Kore-eda received a jury prize and an ecumenical prize at Cannes two years ago for “Like Father, Like Son,” and he was also in competition with “Nobody Knows” (2004) and “Distance” (2001). His 2009 film “Air Doll” premiered in Un Certain Regard.

“‘Our Little Sister’ is a perfect match for Sony Classics and we’re really grateful that Wild Bunch and Gaga have entrusted us with this special film,” said Sony Pictures Classics.

In a glowing Variety review, Maggie Lee wrote: “‘Our Little Sister’ is Kore-eda’s fourth film (after ‘Nobody Knows,
See full article at Variety - Film News »

Cannes Film Review: ‘Our Little Sister’

Cannes Film Review: ‘Our Little Sister’
Marking the subtle transitions in the lives of three sisters after they take under their wing a teenage half-sibling they never knew, “Our Little Sister” is so meticulously shot and gracefully orchestrated that it can be considered a worthy contempo successor to Kon Ichikawa’s masterpiece “The Makioka Sisters.” Yet, in attempting to evoke an overwhelmingly femme-centric universe for the first time, Hirokazu Kore-eda adopts an approach so serene that his protagonists’ pain as well as their personalities remain largely muffled as they drift soulfully through the seasons. While gently engaging throughout, the pic nonetheless doesn’t reverberate as deeply as the helmer’s 2013 Cannes jury prizewinner, “Like Father, Like Son,” but Kore-eda’s standing among the worldwide culturati will ensure a warm response at festivals and arthouse cinemas.

Our Little Sister” is Kore-eda’s fourth film (after “Nobody Knows,” “I Wish” and “Like Father, Like Son”) to center on abandoned children.
See full article at Variety - Film News »
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