With his previous film I Wish, we knew that Japanese filmmaker Kore-eda was an expert at drawing engaging performances out of adorable young children. And he does that again here, but the film's main focus is on a man who discovers the little boy inside himself, as well as the father he should be. It's a strikingly sentimental story that never gets remotely sappy because it draws out delicate details in each scene.
The man in question is Ryota (Fukuyama), a well-off architect raising his cheeky 5-year-old son Keita (Ninomiya) with his quietly observant wife Midori (Ono). When they're notified that Keita was swapped with another baby at birth, their reactions are extremely telling. Ryota says, "Now it all makes sense", while Midori wonders why she didn't notice it earlier. Their biological son Ryusei (Sho-gen) has been raised by the poor shopkeeper Yudai (Lily) and his wife Yukari (Maki), who have two other children. The question is whether they can just swap the boys back to their biological parents, or are the bonds already too strong?
By keeping the focus on Ryota, Kore-eda pulls us into the events from an intriguing angle. Sharply well-played by Fukuyama, Ryota is cold and sometimes harshly demanding, which we learn is a legacy from his own father. He's also snobbishly dismissive of the poorer family, even offering to raise both boys himself. By contrast, Yudai always puts his family ahead of his work, something alien to Ryota. So the key is whether Ryota will be able to view this situation through the boys' eyes.
Continue reading: Like Father, Like Son Review
Even without much of a plot, this meandering Japanese film holds our attention with a clear-eyed attention to character detail and situations that spark our imaginations. Beautifully shot and edited, filmmaker Kore-eda tells the story from a child's eye, offering a funny, involving look at growing up. And the film refreshingly never pushes its themes home, delicately letting us take an adventure along with a group of lively kids.
After their parents separated, the thoughtful young Koichi (Koki Maeda) went with their mother (Ohtsuka) to live in the southern city of Kagoshima, which is dominated by an ash-spewing volcano. He misses his cheeky little brother Ryu (Ohshiro Maeda, Koki's real brother), who has moved north to live with their slacker-musician dad (Odagiri) in Fukuoka. Over the phone, they hatch an elaborate plan to ditch school and meet up at the seemingly magical point where new bullet trains cross, where their wishes will be granted. Travelling with their friends, Koichi and Ryu begin to realise that what they wish for might be changing.
Yes, this is a sort of coming-of-age film in which two young boys make some startling discoveries about the world. But writer-director Kore-eda never overstates any of this, so the film feels like almost like a free-form documentary following both the children and adults through everyday experiences that are so well observed that they take our breath away. In the raw, honest performances from the entire cast, we feel like we're watching ourselves up there on-screen.
Continue reading: I Wish Review
On the 15th anniversary of their golden-boy son's death, Toshiko and Kyohei (Kirin and Yoshio) have a special dinner party for their surviving children.
Son Ryota (Hiroshi) brings his wife (Yui) and her son (Shohei) from her late first husband. Daughter Chinami (You) brings her smiley husband (Kazuya) and their two children (Ryoga and Hotaru). But it's clear that the parents haven't moved on from their other son's death, and they can't face the fact that their other children have grown up to have lives of their own.
Continue reading: Still Walking Review
Irresponsible Mom (You) scams her way into a no-young-kids-allowed apartment building by pretending that 12-year-old Akira (Yuuya Yagira) is her only child. Once inside, two other children, daughter Yuki (Momoko Shimizu) and son Shigeru (Heie Kimura) pop out of the suitcases in which they've been hiding. Another daughter, Kyoko (Ayu Kitaura), sneaks in later.
Continue reading: Nobody Knows Review
In a similar vein to Steven Soderbergh's "King of the Hill," Hirokazu Kore-eda's "Nobody Knows" tells the story of four Japanese children left to fend for themselves when their mother flits off for a long-distance romance. For anyone with a conscinence, it's an extremely difficult film to watch, but Kore-eda's accomplished artistry makes up for a great deal of emotional discomfort.
His camera focuses on tiny bits of evidence: a broken crayon, a Styrofoam cup used as a planter, or a child lighting a gas stove by herself. Some of this is meant as foreshadowing and some is not -- which adds to the uncertainty of the situation and the constant questions that the children must be asking themselves.
Kore-eda, the director behind the now-classic "After Life," gets wonderfully natural performances from his young cast, and uses the story's limited locations to maximum effect. At first the children follow their mother's orders and stay exclusively inside; she has lied to the landlord and told him about only one of her children. But as their hope dwindles, they become more and more careless and we begin to see more of the outside world.
Continue reading: Nobody Knows Review
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With his previous film I Wish, we knew that Japanese filmmaker Kore-eda was an expert...
Even without much of a plot, this meandering Japanese film holds our attention with a...
With clear echoes of Ozu, this quietly effective slice of Japanese family life has a...
Forty-two-year-old Japanese director Hirokazu Kore-eda has just eight movies to his credit, but he's become...
In a similar vein to Steven Soderbergh's "King of the Hill," Hirokazu Kore-eda's "Nobody...