2 items from 2017
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 »
- David Ehrlich
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, »
- Christopher Schobert
2 items from 2017
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