Despite its seemingly modest if meta-cinematic setup, Kore-eda’s first film made in the West with big stars reveals layers of subtlety and emotions that creep up genteelly to the surface.
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Truth, The (2019)
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Category / Kore-eda, Hirokazu
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Shoplifters (2018)
Not his very best, but Kore-eda has an intuitive way of working with children, and this ensemble piece illustrates with delicate ease the filmmaker’s longstanding preoccupation with relational dynamics within the family unit.
Third Murder, The (2017)
Kore-eda changes his own scenery with a genre film in this largely humanistic if didactic legal procedural about a murky murder.
After the Storm (2016)
Not one of the master’s finest, but Koreeda’s subtle touch continues to bring warmth and insight to the complexity of modern family relations.
Still Walking (2008)
Koreeda’s mastery of the subtle gives this drama an emotional weight as pure as life itself.
Like Father, Like Son (2013)
One of the year’s very best, this new Koreeda feature is thematically dense, yet plays out in a highly resonating and honest way about human relationships.
After Life (1998)
Kore-eda’s second fiction feature sees him take on themes of memory and the afterlife through a meta-cinematic lens.
