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...
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...
- 3/17/2017
- by David Ehrlich
- Indiewire
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