Hirokazu Kore-eda: Life, Career, and Top Films information

Hirokazu Kore-eda ‘s transition from literature to documentaries and ultimately to filmmaking highlights his deep commitment to storytelling. Through his films, he captures the subtleties of life and relationships, offering audiences a chance to reflect on what it truly means to be human.

Hirokazu Kore-eda : The Life of a Master Storyteller

Hirokazu Kore-eda is one of Japan’s most acclaimed filmmakers, known for his ability to capture the beauty and complexity of human relationships. Born in Tokyo on June 6, 1962, Kore-eda grew up in a typical middle-class family. His early life was marked by a love for books and storytelling, which later evolved into a fascination with visual media. While he initially dreamed of becoming a novelist, his journey took a different path when he discovered the power of filmmaking during his time at Waseda University, one of Japan’s most prestigious schools. Kore-eda studied literature, and it was during these years that his storytelling abilities began to take shape.

How Hirokazu Kore-eda Became a Filmmaker

Kore-eda’s path to becoming a filmmaker was unconventional. After graduating from Waseda University, he began working for a television production company where he directed several documentaries. This experience profoundly influenced his approach to storytelling, allowing him to observe and capture the raw, unfiltered emotions of everyday people. His time as a documentarian taught him the importance of authenticity and subtlety—qualities that are now hallmarks of his films. Kore-eda often mentions that his desire to move from documentaries to feature films stemmed from his need to explore deeper emotions and human stories that a documentary format couldn’t fully convey.

In 1995, Kore-eda made his directorial debut with “Maborosi” (Maboroshi no Hikari), a quiet yet powerful film that delves into loss and grief. The success of this film solidified his place in the Japanese film industry and marked the beginning of a remarkable career. Since then, he has continued to craft thought-provoking films, such as “Nobody Knows,” “Still Walking,” and the Cannes-winning “Shoplifters,” all of which explore themes of family, identity, and human connection.

How Hirokazu Kore-eda is Recognized in Japan and Abroad

Hirokazu Kore-eda is celebrated both in Japan and internationally for his ability to tell deeply human stories with subtlety and grace. While his approach to filmmaking resonates globally, the way his work is received often differs between Japanese audiences and international critics.

Recognition in Japan: A Master of Family Stories

In Japan, Kore-eda is widely regarded as a master storyteller who delicately portrays family dynamics and the unspoken emotions within relationships. His films often reflect the realities of contemporary Japanese society—whether it’s broken families, economic struggles, or generational conflicts. The Japanese audience appreciates how his works tackle universal themes with cultural authenticity, capturing the quiet beauty of everyday life.

For example, his 2008 film “Still Walking” (Aruitemo Aruitemo) is often considered one of the finest portrayals of a Japanese family. Drawing from his own experiences, Kore-eda captured the complex yet subtle tensions between family members during a reunion. This realistic and intimate approach earned him significant respect in Japan as a filmmaker who deeply understands Japanese life and values.

International Acclaim: A Global Voice for Humanity

On the international stage, Kore-eda is praised for his universal storytelling, which transcends cultural boundaries. His films, while rooted in Japanese settings, explore emotions and relationships that resonate with audiences worldwide. International critics often compare him to legendary directors like Yasujirō Ozu for his restrained, observational style and focus on familial themes.

One of Kore-eda’s most internationally celebrated works is “Shoplifters” (Manbiki Kazoku, 2018). The film tells the story of a makeshift family surviving through petty theft while questioning the traditional definition of family. “Shoplifters” won the Palme d’Or at the Cannes Film Festival, marking Kore-eda’s status as a leading figure in world cinema. The film’s global success highlighted his ability to address themes like poverty, love, and morality in a way that appeals to audiences far beyond Japan.

Another noteworthy example is “Like Father, Like Son” (Soshite Chichi ni Naru, 2013), which won the Jury Prize at Cannes. The film explores the emotional turmoil of two families who discover that their sons were switched at birth. The story’s universal appeal—centered on the bond between parents and children—earned Kore-eda international acclaim and cemented his reputation as a storyteller of deep emotional truths.

A Balanced Reputation

While Kore-eda’s films are more subtle and restrained compared to mainstream Japanese cinema, this very quality has brought him international recognition. In Japan, he is seen as a reflective filmmaker capturing the essence of modern life, while abroad, he is celebrated as a master who tells stories that speak to the universal human experience. Whether it’s through award-winning works like “Shoplifters” or deeply personal films like “Still Walking”, Kore-eda’s ability to bridge cultures with his storytelling ensures his place as one of the most respected directors of our time.

Key Characteristics of Hirokazu Kore-eda’s Films

Hirokazu Kore-eda’s films are renowned for their subtle, emotional storytelling and their ability to capture the beauty and complexity of everyday life. His works focus on themes that transcend cultural boundaries while maintaining a distinctly Japanese sensibility. Here are the defining characteristics of Kore-eda’s films:

1. Exploration of Family Dynamics

At the heart of Kore-eda’s storytelling lies a deep fascination with the idea of family—both its beauty and its imperfections. He often challenges traditional definitions of family, depicting relationships that exist outside societal norms yet feel equally, if not more, meaningful. Whether biological or chosen, his films portray families navigating love, conflict, and reconciliation, making them relatable to audiences worldwide.

In “Like Father, Like Son” (2013), Kore-eda raises the question of what truly makes a parent: biology or shared experience. The story follows two families who discover their sons were switched at birth, leading to painful decisions and emotional revelations. Similarly, “Shoplifters” (2018) presents a makeshift family living on the margins of society, whose love and loyalty to one another challenge traditional ideas of morality and kinship. By focusing on these unconventional families, Kore-eda asks viewers to reflect on the meaning of connection and belonging.

Through his exploration of family dynamics, Kore-eda captures the unspoken tensions and small, intimate moments that define our closest relationships. Meals shared around a table, quiet conversations, and fleeting glances often speak louder than words, offering a realistic portrait of family life.

2. Realism and Naturalistic Storytelling

Kore-eda’s background as a documentary filmmaker has profoundly influenced his narrative style. His films are deeply rooted in realism, focusing on ordinary people and their daily lives with a sense of quiet authenticity. Instead of relying on melodrama or exaggerated emotions, he allows his characters to exist in a world that feels natural and believable. This subtle approach creates a sense of intimacy, drawing audiences closer to the emotional core of his stories.

In “Still Walking” (2008), Kore-eda presents a day in the life of a family gathering to commemorate the death of a loved one. The film unfolds without a conventional plot, yet every moment—whether it’s cooking, walking, or having small disagreements—carries emotional weight. Similarly, “After the Storm” (2016) follows a struggling writer who tries to reconnect with his family. Rather than focusing on grand resolutions, Kore-eda highlights the quiet struggles and unspoken hopes of everyday people, offering a sense of truth rarely seen in cinema.

Kore-eda’s naturalistic storytelling also extends to his actors, particularly children, who deliver performances that feel unscripted and genuine. His ability to capture the raw emotions of his characters—whether through silences, small gestures, or facial expressions—reveals a filmmaker with deep empathy for humanity.

3. Subtle Emotional Depth

One of Kore-eda’s greatest strengths lies in his ability to tell stories that are both subtle and deeply moving. Instead of relying on dramatic twists or heavy dialogue, he uses quiet moments to reveal the inner lives of his characters. This understated approach allows emotions to build naturally, resulting in films that linger in the minds of viewers long after the credits roll.

In “Maborosi” (1995), Kore-eda’s debut feature, a young widow grapples with the sudden loss of her husband. The film’s slow pacing and minimal dialogue reflect her grief, with emotions conveyed through lighting, atmosphere, and the protagonist’s small, contemplative actions. Similarly, in “Our Little Sister” (2015), Kore-eda captures the bond between four sisters through everyday rituals like cooking, walking, and sharing stories. These seemingly simple moments are imbued with love, loss, and nostalgia, creating an emotional depth that feels both universal and timeless.

Kore-eda’s subtle storytelling challenges viewers to slow down and observe the quiet beauty of life’s fleeting moments. Rather than providing easy answers, his films invite audiences to find meaning in the small, unspoken truths of human relationships.

4. The Perspective of Children

Children often play a central role in Kore-eda’s films, offering a unique perspective on the adult world. His child characters are not idealized or simplified; instead, they are portrayed as resilient, observant, and deeply affected by the choices of the adults around them. Through their eyes, Kore-eda explores themes of neglect, innocence, and the search for love and stability.

In “Nobody Knows” (2004), Kore-eda tells the heartbreaking story of four siblings abandoned by their mother. The eldest child, Akira, takes on the responsibility of caring for his younger siblings, showcasing both his strength and vulnerability. The film’s quiet realism makes their struggles all the more devastating, highlighting the fragility of childhood. In contrast, “I Wish” (2011) takes a more hopeful tone, following two brothers who dream of reuniting their separated family. Through the eyes of these children, Kore-eda captures the innocence and wonder of youth while addressing deeper themes of loss and longing.

By focusing on children, Kore-eda reveals how society’s failures and familial conflicts shape young lives. His compassionate lens ensures that these stories are told with honesty and care, allowing audiences to connect with the hopes and struggles of his youngest characters.

5. Visual Simplicity and Symbolism

Kore-eda’s visual style is as understated as his storytelling. He often uses long, static shots, natural lighting, and minimal camera movement to create a sense of stillness and realism. This simplicity allows viewers to focus on the characters and their emotions, while also highlighting the beauty of everyday life.

In “After Life” (1998), Kore-eda uses minimalistic sets to emphasize the film’s central theme: memory and the passage of time. Similarly, in “Still Walking”, carefully framed shots of food, family gatherings, and nature serve as symbols of connection, loss, and continuity. Kore-eda often returns to motifs like shared meals, walks, and quiet domestic spaces, which reflect the rhythms of life and the importance of human connection.

This visual restraint, combined with his poetic use of symbolism, creates a meditative atmosphere that encourages viewers to reflect on their own experiences. Kore-eda’s films remind us that beauty can be found in the simplest moments—a meal shared with loved ones, a quiet stroll, or the sound of laughter.

Hirokazu Kore-eda’s International Awards and Recognition

Hirokazu Kore-eda has earned widespread acclaim on the global stage for his deeply humanistic and emotionally resonant storytelling. International audiences and critics admire his ability to capture universal themes such as family, memory, and the struggles of everyday life, all while maintaining a distinctly Japanese sensibility. His films have been recognized at prestigious film festivals and award ceremonies, solidifying his reputation as one of the most important filmmakers of contemporary cinema.

Cannes Film Festival: A Longstanding Relationship

The Cannes Film Festival has played a significant role in Kore-eda’s international success, with many of his films receiving top honors or critical acclaim at this prestigious event.

• “Nobody Knows” (2004): This heartbreaking story about abandoned siblings earned Yūya Yagira the Best Actor Award at Cannes, making him the youngest-ever recipient of the prize at just 14 years old. The film’s raw emotional impact and Kore-eda’s restrained direction captivated international critics.
• “Like Father, Like Son” (2013): Kore-eda’s exploration of nature versus nurture, centered around two families who discover their sons were switched at birth, won the Jury Prize at Cannes. The film was praised for its emotional depth and universal themes, resonating strongly with audiences worldwide. Notably, renowned director Steven Spielberg, who was head of the Cannes jury that year, expressed his admiration for the film and its poignant storytelling.
• “Shoplifters” (2018): This is arguably Kore-eda’s most celebrated work to date. The film, which tells the story of a makeshift family surviving on the fringes of society, won the Palme d’Or, the highest honor at Cannes. “Shoplifters” was hailed for its compassionate portrayal of poverty, morality, and human connection. The film’s success marked Kore-eda as the first Japanese director to win the Palme d’Or in 21 years, since Shohei Imamura’s “The Eel” in 1997.

Kore-eda’s consistent presence at Cannes has elevated his profile as a filmmaker whose works transcend cultural boundaries, touching audiences with their universality and emotional sincerity.

Venice, Toronto, and Beyond: Global Acclaim

Beyond Cannes, Kore-eda’s films have been recognized at other major international film festivals, further cementing his global reputation.

• “Our Little Sister” (2015): Premiering at the Cannes Film Festival and showcased globally, this tender story of four sisters rebuilding their bond received nominations at the Toronto International Film Festival and various European festivals. It was praised for its warmth, visual beauty, and understated storytelling.
• “The Truth” (2019): Kore-eda’s first non-Japanese film, “The Truth”, featuring French stars Catherine Deneuve and Juliette Binoche, opened the Venice International Film Festival. This film highlighted Kore-eda’s ability to adapt his storytelling to a European setting while maintaining his signature themes of familial tension and reconciliation.
• “After Life” (1998): This thoughtful and imaginative film about individuals choosing a single memory to take into the afterlife gained widespread praise at film festivals around the world. It established Kore-eda’s reputation as a visionary filmmaker capable of blending philosophy and emotional storytelling.

Kore-eda’s works are also frequently showcased at film festivals in Berlin, Toronto, and San Sebastián, where his films receive standing ovations and critical acclaim for their humanity and artistic depth.

Awards and Nominations: Recognition Across the Globe

Kore-eda’s talent has been recognized through numerous awards and nominations, spanning continents and cultures:

• Academy Awards (Oscars): “Shoplifters” (2018) was nominated for Best Foreign Language Film at the 91st Academy Awards, marking a major milestone for Kore-eda on the global stage. The film’s inclusion highlighted its universal themes and critical success.
• Golden Globes: “Shoplifters” was also nominated for Best Motion Picture – Foreign Language, further emphasizing Kore-eda’s ability to resonate with international audiences.
• Asia-Pacific Film Awards: Kore-eda has received multiple honors, including Best Film and Best Director, for his contributions to Asian cinema.
• European Film Festivals: Films like “Like Father, Like Son” and “Still Walking” have received awards and nominations at festivals across Europe, where audiences appreciate his quiet, introspective storytelling and focus on human relationships.

International Criticism and Legacy

International critics often compare Kore-eda to legendary Japanese filmmaker Yasujirō Ozu, who also depicted family life with a similar sense of subtlety and visual simplicity. Kore-eda’s works are praised for their delicate pacing, emotional restraint, and ability to find meaning in the everyday moments of life. Critics admire his refusal to rely on melodrama, instead allowing the audience to discover the emotional core of his stories through quiet, observational storytelling.

The success of “Shoplifters” and “Like Father, Like Son” demonstrates Kore-eda’s ability to tell stories that transcend language and culture, earning him a devoted following across Asia, Europe, and North America. His reputation as a master storyteller has also led to collaborations with international actors and production teams, as seen in “The Truth”.

Hirokazu Kore-eda Filmography

Nobody Knows

Native title : 誰も知らない (Daremo Siranai)
Release date : August 7, 2004 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Yūya Yagira as Akira Fukushima, Ayu Kitaura as Kyōko, Hiei Kimura as Shigeru, Momoko Shimizu as Yuki, You as Keiko (the mother)
Country: Japan
Running time: 141 minutes

“Nobody Knows“ tells the heartbreaking story of four siblings abandoned by their mother and forced to survive on their own in a small Tokyo apartment. Inspired by the real-life Sugamo child abandonment case, the film begins when Keiko, a single mother, moves into a new apartment with her eldest son, Akira, and a single suitcase. Unknown to the landlord, the suitcase hides Akira’s younger siblings—Kyōko, Shigeru, and Yuki—who were smuggled in secretly. The mother, who is irresponsible yet affectionate at times, leaves her children alone for increasing lengths of time, offering vague promises of returning.

Eventually, Keiko abandons them completely, leaving Akira, only 12 years old, to take on the role of a parent. The siblings adapt to their isolation, creating their own little world within the confines of their home. Akira ventures outside to buy food and take care of his siblings, while Kyōko assumes domestic responsibilities. However, their situation begins to deteriorate as the money runs out, the utilities are cut off, and the children are pushed further into isolation and poverty.

The film progresses with a quiet, devastating sense of realism, highlighting their resilience and fragile innocence amidst neglect. When tragedy strikes, the siblings’ tenuous world begins to unravel, forcing Akira to make difficult choices for survival. Hirokazu Kore-eda’s restrained direction avoids melodrama, instead focusing on the small, tender moments shared between the children—moments of play, laughter, and fleeting happiness—contrasted against the harsh reality of their circumstances.

“Nobody Knows” received widespread critical acclaim for its realistic portrayal of childhood, neglect, and survival. The film was celebrated for its naturalistic performances, particularly that of Yūya Yagira, who delivered an astonishingly mature and subtle performance as Akira. At the 2004 Cannes Film Festival, Yagira won the Best Actor Award, becoming the youngest actor ever to receive the prize at just 14 years old.

The film’s powerful themes resonated globally, shedding light on societal issues such as parental abandonment and child neglect, which are often overlooked. Critics praised Kore-eda’s compassionate yet unsentimental approach, comparing his observational style to that of legendary Japanese filmmaker Yasujirō Ozu. The film’s visual simplicity, natural lighting, and quiet pacing emphasized the children’s isolation and the harsh realities they faced, creating a haunting, lasting impact on audiences.

Over the years, “Nobody Knows” has been regarded as one of Kore-eda’s masterpieces, cementing his reputation as a filmmaker who captures the delicate emotions and struggles of everyday life. It remains a poignant exploration of human resilience, innocence, and the tragic consequences of neglect, solidifying its place in the history of modern Japanese cinema.

After Life

Native title : ワンダフルライフ (Wandafuru Raifu)
Release date : April 17, 1998 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Arata Iura as Takashi Mochizuki, Erika Oda as Shiori Satonaka, Takashi Naitō as Satoru Kawashima, Susumu Terajima as Tatsuo Nakamura, Kyoko Kagawa as Mrs. Watanabe
Country: Japan
Running time: 118 minutes

Somewhere between life and the afterlife exists a quiet, unassuming waystation where the newly deceased arrive. Those who enter are told they have just one week to choose a single memory—any memory—from their lives that they will carry with them into eternity. Once selected, the memory will be recreated into a short film, and all other memories will disappear forever.

The story primarily follows Takashi Mochizuki and Shiori Satonaka, two workers at the waystation tasked with guiding the souls who arrive. As they help each person reflect on their lives, different emotions and stories begin to unfold. Some individuals struggle to find a memory they cherish, while others reveal regrets, pain, and happiness in equal measure. Through the process, small moments of life—often overlooked—are revealed to hold the greatest significance.

One of the more poignant subplots involves a recently deceased elderly man who reconnects with memories of his late wife, while a young girl struggles to identify a moment she wants to hold onto. Meanwhile, Mochizuki begins to confront his own past, leading to a moving realization that bridges the living and the dead.

Through its quiet pace and reflective tone, the film explores questions about life’s meaning, the impermanence of time, and the beauty found in fleeting memories. Instead of focusing on the afterlife itself, the story highlights how moments of joy, love, and connection become timeless once we cherish them.

Kore-eda’s “After Life” received widespread praise for its originality and profound philosophical questions. By blending elements of fantasy with documentary-style realism, the film struck a delicate balance between grounded storytelling and imaginative exploration. Critics admired its minimalistic approach and the way it avoided sentimentality while celebrating the beauty of life’s smallest moments.

The film premiered at several international festivals, including the Toronto International Film Festival and the San Sebastián International Film Festival, where it received critical acclaim. Many reviewers highlighted how the film’s universal themes—memory, happiness, and reflection—resonated across cultures, making it accessible to audiences worldwide.

Kore-eda’s background in documentary filmmaking played a significant role in shaping “After Life”. The film includes non-actors alongside professional performers, and several scenes involve real people recounting their favorite memories on screen. This stylistic choice enhances the authenticity and emotional power of the narrative, creating a sense of intimacy rarely seen in cinema.

Over time, “After Life” has been celebrated as a groundbreaking work in modern Japanese cinema. Its influence can be seen in later films that explore similar themes of memory and the passage of time. The film is often described as poetic and contemplative, inviting viewers to reflect on their own lives and the memories they hold dear.

By turning the idea of the afterlife into a space for personal reflection rather than judgment, Kore-eda created a story that feels both timeless and deeply human. “After Life” remains a standout work in his career and a poignant reminder of the value in life’s fleeting yet precious moments.

Still Walking

Native title : 歩いても 歩いても (Aruitemo Aruitemo)
Release date : June 28, 2008 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Hiroshi Abe as Ryota Yokoyama, Yui Natsukawa as Yukari Yokoyama, Kirin Kiki as Toshiko Yokoyama (Mother), Yoshio Harada as Kyohei Yokoyama (Father)
Country: Japan
Running time: 114 minutes

Set over the course of a single summer day, “Still Walking“ follows a family as they reunite to commemorate the 15th anniversary of the eldest son’s death. Ryota Yokoyama, the surviving younger son, reluctantly returns to his parents’ home with his wife and stepson. There, his aging parents, Kyohei and Toshiko, struggle with unspoken grievances and subtle tensions that have lingered for years.

Throughout the day, small yet revealing moments expose the family’s dynamic—old wounds resurface, quiet judgments are exchanged, and unspoken regrets loom over conversations. Kyohei, a retired doctor, disapproves of Ryota’s career choices, while Toshiko clings to a bittersweet nostalgia for the son she lost. Meanwhile, Ryota feels the weight of his late brother’s legacy and the expectations placed upon him.

Despite the tensions, warmth and familiarity emerge through shared meals, casual conversations, and moments of humor. Family members interact with a natural rhythm, portraying both love and frustration in their relationships. As the day progresses, Kore-eda uses the seemingly mundane events—cooking tempura, walking through the neighborhood, and reminiscing about the past—to explore themes of loss, legacy, and the passage of time.

Subtle yet profound, the film captures the complexity of family life, highlighting the interplay of love, disappointment, and reconciliation. By the time the family disperses, the lingering sense of unresolved emotions and fleeting moments stays with viewers, creating a deeply personal and reflective experience.

“Still Walking” received widespread critical acclaim for its delicate and realistic portrayal of family relationships. Many reviewers praised Kore-eda’s ability to capture life’s quiet, everyday moments while exploring deeper emotional truths. The film’s themes of loss, aging, and generational conflict struck a chord with audiences worldwide, earning comparisons to the works of Yasujirō Ozu, particularly his masterpiece “Tokyo Story.”

The film premiered at international film festivals, including the Toronto International Film Festival and the San Sebastián International Film Festival, where it was lauded for its understated beauty and natural performances. Critics particularly highlighted the exceptional acting by Kirin Kiki as the sharp yet tender matriarch and Hiroshi Abe as the conflicted son, whose subtle expressions conveyed volumes of unspoken emotion.

“Still Walking” is often regarded as one of Kore-eda’s finest films, celebrated for its authenticity and humanity. The attention to detail—whether in the preparation of food, the pacing of conversations, or the family’s quiet rituals—reflects the director’s deep respect for ordinary life. Audiences and critics alike have praised how Kore-eda allows the characters’ flaws and vulnerabilities to shine, creating a universal story about family bonds and the regrets we carry.

Over the years, the film has continued to resonate with viewers, becoming a modern classic in Japanese cinema. Its quiet exploration of loss and family dynamics reminds audiences of the beauty in everyday life and the importance of cherishing fleeting moments. Kore-eda’s ability to capture these subtleties has solidified his reputation as a master of humanistic storytelling.

Air Doll

Native title : 空気人形 (Kūki Ningyō)
Release date : September 26, 2009 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda (based on the manga The Pneumatic Figure of a Girl by Yoshiie Gōda)
CAST : Bae Doona as Nozomi (the air doll), Arata Iura as Junichi, the video store clerk, Itsuji Itao as Hideo, the doll’s owner, Joe Odagiri as Sonoda, Sumiko Fuji as the elderly woman
Country: Japan
Running time: 116 minutes

Set in the bustling yet lonely neighborhoods of Tokyo, “Air Doll“ tells the story of an inflatable doll that inexplicably comes to life and begins to experience the human world. Nozomi, an air doll owned by a lonely middle-aged man named Hideo, was originally designed to be a companion—a substitute for human connection. One day, she miraculously awakens with a heart and a sense of curiosity about the world around her.

As Nozomi ventures out of Hideo’s apartment, she begins to explore Tokyo, discovering the beauty and sadness of human existence. She takes on a part-time job at a video rental shop, where she meets Junichi, a kind and reserved clerk who becomes her first meaningful connection. Through her innocent and childlike perspective, Nozomi observes the loneliness, longing, and fractured relationships of the people she encounters.

While Nozomi begins to develop feelings for Junichi, her growing awareness of her own nature as an artificial object causes her to grapple with existential questions. Can an air doll, created to serve others, have a heart of her own? Her journey reflects the delicate balance between love and emptiness, highlighting the loneliness that pervades modern life.

The film’s exploration of humanity is both poetic and melancholic, as Nozomi’s search for purpose is tinged with a sense of fragility. By the end, her realization about her identity—and the limits of her existence—culminates in a moving yet heartbreaking resolution.

“Air Doll” received critical praise for its philosophical depth and the powerful central performance by Bae Doona. Her portrayal of Nozomi—a character who is both innocent and deeply reflective—earned widespread acclaim for its emotional complexity and vulnerability. Bae’s performance was particularly celebrated for her ability to convey a wide range of emotions with subtlety, making Nozomi’s transformation into a self-aware being both believable and poignant.

The film premiered in the Un Certain Regard section at the 2009 Cannes Film Festival, where it drew international attention for its exploration of loneliness, love, and the search for meaning. Critics praised Kore-eda’s ability to blend fantasy with reality, using the story of an air doll to highlight the emptiness and disconnection often felt in modern urban life.

Visually, “Air Doll” stands out for its dreamlike cinematography and careful attention to detail. Kore-eda creates a delicate, melancholic atmosphere through soft lighting, muted tones, and quiet moments that reflect Nozomi’s innocence and the sadness of her surroundings. The film’s symbolic imagery—such as Nozomi’s fragile body needing constant repair—serves as a metaphor for the vulnerability of human relationships and the impermanence of life.

While some viewed the premise as unusual, many critics appreciated Kore-eda’s willingness to tackle profound existential themes through a unique and thought-provoking narrative. The film raises questions about what it means to be human, how people seek connection in an increasingly isolated world, and whether artificial objects can hold genuine emotions.

Over time, “Air Doll” has been recognized as one of Kore-eda’s more experimental works. It continues to resonate with audiences who appreciate films that blend fantasy and reality while addressing universal human concerns. By portraying Nozomi’s journey with tenderness and introspection, Kore-eda crafted a story that is as haunting as it is beautiful, offering a quiet reflection on loneliness, love, and the essence of being alive.

I Wish

Native title : 奇跡 (Kiseki)
Release date : June 11, 2011 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Koki Maeda as Koichi, Ohshiro Maeda as Ryunosuke, Jō Odagiri as Kenji, the father, Yui Natsukawa as Nozomi, the mother, Kirin Kiki as the boys’ grandmother
Country : Japan
Running time : 128 minutes

Two young brothers separated by their parents’ divorce embark on an emotional journey in “I Wish“. Koichi, the older brother, lives with his mother and grandparents in Kagoshima, a city overshadowed by an active volcano. The younger brother, Ryunosuke, stays with their carefree musician father in Fukuoka. Though far apart, the brothers maintain a strong bond and share a longing to reunite their family.

Koichi begins to believe that a miracle will occur when two new bullet trains pass each other at full speed on the Kyushu line. According to a schoolyard rumor, standing at the spot where the trains meet will allow a wish to come true. Fueled by hope, the brothers, along with their friends, plan an adventure to witness the trains crossing and wish for their family to be whole again.

As the children set out on their journey, their innocence and wonder are at the heart of the story. Each of the kids carries their own wishes—some playful, others poignant. Along the way, they encounter small moments of magic and kindness, as well as glimpses of the challenges the adults in their lives face. Koichi’s wish for his family to reunite is contrasted with Ryunosuke’s more carefree perspective, which accepts the world as it is.

Hirokazu Kore-eda gently portrays the emotional complexities of childhood, balancing humor, warmth, and longing. Rather than focusing solely on the children’s dreams, the film captures the essence of their journey—the friendships, discoveries, and simple joys that shape their experience. The ending, while not overly sentimental, carries a sense of acceptance and growth, emphasizing that miracles can be found in the small, everyday moments of life.

“I Wish” was met with critical acclaim for its heartfelt storytelling, natural performances, and Kore-eda’s sensitive direction. Critics praised how the film avoids heavy-handed drama and instead highlights the small yet meaningful experiences of childhood. The chemistry between the two real-life Maeda brothers, Koki Maeda and Ohshiro Maeda, brings authenticity and charm to the film, making their bond feel genuine and relatable.

The film premiered at several international festivals, including the Toronto International Film Festival and the San Sebastián International Film Festival, where it received widespread praise. Kore-eda’s ability to capture the innocence and optimism of children earned him comparisons to legendary filmmakers like Yasujirō Ozu and François Truffaut.

“I Wish” also won multiple awards, including the Best Screenplay Award at the Asia Pacific Screen Awards. The film’s universal themes of family, childhood, and hope resonated with audiences worldwide, further establishing Kore-eda as a master of humanistic storytelling.

Over the years, “I Wish” has been celebrated for its ability to find beauty in the ordinary and its honest portrayal of children’s perspectives. By weaving together moments of laughter, sadness, and wonder, Kore-eda created a film that reminds viewers of the simple magic found in life’s fleeting moments. The story’s gentle conclusion reinforces the idea that while miracles may not always unfold as expected, there is joy in accepting the present and cherishing what we already have.

Like Father, Like Son

Native title : そして父になる (Soshite Chichi ni Naru)
Release date : September 28, 2013 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Masaharu Fukuyama as Ryota Nonomiya, Machiko Ono as Midori Nonomiya, Yōko Maki as Yukari Saiki, Lily Franky as Yudai Saiki, Keita Ninomiya as Keita Nonomiya
Country: Japan
Running time: 120 minutes

Ryota Nonomiya, a successful and ambitious architect, appears to have the perfect life: a thriving career, a beautiful home, and a loving family. His world, however, is turned upside down when he and his wife, Midori, receive shocking news from the hospital. Their six-year-old son, Keita, is not their biological child. Due to a mix-up at the hospital, Keita was switched at birth with another boy, Ryusei Saiki, who has been raised by a working-class family, the Saikis.

Faced with this revelation, Ryota and Midori are thrown into an emotional crisis. The two families begin meeting and contemplating an impossible decision—whether to exchange the boys or continue raising the children they have loved as their own. Ryota, who has always prided himself on discipline, achievement, and blood ties, struggles to bond with Ryusei, while also questioning his own definition of fatherhood. In contrast, the Saiki family, led by the warm and carefree Yudai, values love, happiness, and time spent together more than material success.

As the story unfolds, Ryota begins to reflect on his own upbringing and the expectations he places on himself and his son. His emotional journey reveals the limitations of his rigid perspective and the importance of love, connection, and shared experiences in defining what it truly means to be a father. The film delicately explores themes of family, identity, and the nature-versus-nurture debate, leaving audiences to ponder what creates a meaningful parental bond.

“Like Father, Like Son“ received widespread international acclaim for its heartfelt exploration of family dynamics and fatherhood. The film premiered at the 2013 Cannes Film Festival, where it won the Jury Prize, one of the festival’s highest honors. Steven Spielberg, who served as the jury president that year, praised the film for its emotional depth and universally relatable themes.

The story resonated with audiences worldwide for its nuanced portrayal of the nature-versus-nurture dilemma. Critics lauded Kore-eda’s ability to handle complex moral questions with subtlety and compassion, avoiding melodrama while focusing on the small yet powerful moments that define relationships. The performances were also widely praised, particularly Masaharu Fukuyama, whose portrayal of Ryota’s emotional transformation was both restrained and deeply moving.

In addition to its success at Cannes, the film received nominations and awards at various international festivals, including the San Sebastián International Film Festival and the Toronto International Film Festival. It was also shortlisted for Best Foreign Language Film at the 2014 Golden Globe Awards, further solidifying its global impact.

Over time, “Like Father, Like Son” has been recognized as one of Hirokazu Kore-eda’s most accessible and thought-provoking works. It highlights his signature ability to explore universal themes of family and connection through a uniquely Japanese lens. The film’s success not only showcased Kore-eda’s mastery of humanistic storytelling but also sparked conversations about what truly defines parental love. For audiences worldwide, “Like Father, Like Son” remains a powerful and enduring reflection on the bonds that tie families together.

Our Little Sister

Native title : 海街diary (Umimachi Diary)
Release date : June 13, 2015 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda (based on the manga Umimachi Diary by Akimi Yoshida)
CAST : Haruka Ayase as Sachi Kōda, Masami Nagasawa as Yoshino Kōda, Kaho as Chika Kōda, Suzu Hirose as Suzu Asano
Country : Japan
Running time : 128 minutes

Set in the quiet seaside town of Kamakura, “Our Little Sister” tells the gentle and heartwarming story of four sisters who come together to form a new bond. The story begins with Sachi, Yoshino, and Chika Kōda—three adult sisters who live together in their late grandmother’s house. Estranged from their father for years due to his infidelity and subsequent abandonment, the sisters learn of his death and attend his funeral out of obligation.

At the funeral, they meet Suzu, their shy 14-year-old half-sister from their father’s second marriage. Moved by Suzu’s quiet demeanor and understanding her circumstances—losing her parents and facing loneliness—Sachi, the eldest sister, impulsively invites Suzu to come live with them. Suzu agrees, and the four sisters begin a new chapter of their lives together.

As the story unfolds, Kore-eda captures the rhythms of daily life in a small town—meals shared around the table, walks under cherry blossoms, and quiet moments of bonding. Each sister grapples with her own struggles: Sachi shoulders the weight of responsibility while working as a nurse; Yoshino deals with romantic troubles and career indecision; Chika brings a carefree, youthful energy to the home; and Suzu gradually finds a sense of belonging.

Through these everyday interactions, the film explores themes of family, loss, and healing. Suzu’s presence becomes a catalyst for reconciliation, allowing the sisters to confront the wounds left by their father and find strength in their shared bond. Without resorting to melodrama, Kore-eda beautifully depicts how family—no matter how complicated—can bring solace and growth.

“Our Little Sister” received international acclaim for its tender portrayal of family and its focus on life’s small, meaningful moments. The film premiered at the 2015 Cannes Film Festival in competition for the prestigious Palme d’Or, where it was praised for its emotional subtlety and stunning cinematography that captured the beauty of Kamakura’s seaside landscape.

Critics highlighted the film’s naturalistic performances, particularly those of Haruka Ayase and Suzu Hirose, whose on-screen dynamic captures the evolving relationship between the sisters. Kore-eda’s decision to focus on quiet, everyday details—such as preparing meals, cycling through town, and sharing laughter—was seen as a tribute to the simplicity and fragility of life.

The film drew comparisons to the works of Yasujirō Ozu, especially “Tokyo Story”, for its exploration of family and generational struggles. It was praised for its gentle pacing and ability to find profound meaning in seemingly ordinary moments, which has become Kore-eda’s signature style.

“Our Little Sister” earned multiple awards in Japan, including accolades at the Japan Academy Prize for Best Film and Best Director. Internationally, the film resonated with audiences for its universal themes of love, forgiveness, and familial bonds, showcasing Kore-eda’s ability to create stories that transcend cultural boundaries.

Over the years, the film has been celebrated as one of Kore-eda’s most uplifting and accessible works. It remains a heartfelt reminder that family is not defined by perfection but by the love and shared experiences that hold people together. Through “Our Little Sister”, Kore-eda offers a moving exploration of how healing and hope can arise from even the most fractured relationships, leaving audiences with a sense of warmth and quiet joy.

After the Storm

Native title : 海よりもまだ深く (Umi yori mo Mada Fukaku)
Release date : May 21, 2016 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Hiroshi Abe as Ryota Shinoda, Kirin Kiki as Yoshiko Shinoda (Ryota’s mother), Yōko Maki as Kyoko (Ryota’s ex-wife), Taiyō Yoshizawa as Shingo (Ryota’s son), Sosuke Ikematsu as Ryota’s assistant
Country : Japan
Running time : 117 minutes

Ryota Shinoda, a failed writer and part-time private detective, is struggling to find his footing in life. Once an award-winning novelist, he now spends his days chasing trivial assignments while squandering his earnings on gambling. His inability to grow up and take responsibility strains his relationships—particularly with his ex-wife, Kyoko, and their young son, Shingo.

Ryota’s aging mother, Yoshiko, lives in a modest apartment complex, where she quietly observes her son’s shortcomings with a mix of love, disappointment, and humor. She remains hopeful that Ryota can reconcile with his ex-wife and rebuild a meaningful connection with his son. However, Ryota continues to grapple with his past failures, lingering dreams, and the reality of his current life.

When a powerful typhoon approaches, Ryota, Kyoko, Shingo, and Yoshiko find themselves spending the night together in Yoshiko’s small apartment. The storm outside mirrors the emotional turbulence within, as the family is forced to confront unresolved conflicts and unspoken emotions. Amid quiet conversations and moments of reflection, Ryota struggles to reconnect with his son and prove that he can be a better father and man.

Kore-eda paints a deeply human portrait of a flawed individual who yearns for redemption. Instead of grand resolutions, the story emphasizes small, transformative moments—offering hope that it’s never too late to move forward, even when life doesn’t go as planned.

“After the Storm” was widely praised for its nuanced storytelling and emotional depth, with critics applauding Kore-eda’s ability to portray ordinary lives with profound beauty. The film premiered in the Un Certain Regard section at the 2016 Cannes Film Festival, where it was met with positive reviews for its realism, humor, and tender exploration of family relationships.

Central to the film’s success was the performance of Hiroshi Abe, who brought subtle complexity to the role of Ryota—a man torn between his dreams and responsibilities. Kirin Kiki, a regular collaborator in Kore-eda’s works, delivered a standout performance as Yoshiko, effortlessly embodying the warmth and wisdom of a mother who has seen it all. Her gentle observations and sly humor provided emotional grounding to the story.

Critics often noted the film’s poetic visual style, with its lingering shots of rain, cluttered interiors, and quiet streets. These images reflect both the internal struggles of the characters and the passage of time. Kore-eda’s use of nature as a metaphor—particularly the storm—adds layers of meaning, symbolizing renewal and the chance to rebuild amidst life’s chaos.

While rooted in Japanese culture, “After the Storm” explores themes of regret, parenthood, and personal growth that resonate universally. Many compared Kore-eda’s approach to the works of Yasujirō Ozu, particularly “Tokyo Story”, for its ability to capture small, everyday moments with profound emotional impact.

Over time, “After the Storm” has been celebrated as one of Kore-eda’s most introspective works. It serves as a poignant reminder that while life may not unfold according to our plans, moments of connection and reconciliation can help us weather life’s challenges. Through Ryota’s journey, Kore-eda beautifully conveys that the process of moving forward begins with accepting the present and letting go of the past.

The Third Murder

Native title : 三度目の殺人 (Sandome no Satsujin)
Release date : September 9, 2017 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Masaharu Fukuyama as Shigemori (Defense Lawyer), Kōji Yakusho as Misumi (Accused Murderer), Suzu Hirose as Sakie Yamanaka, Isao Hashizume as Yamanaka (Victim), Mikako Ichikawa as Akira Kawashima
Country : Japan
Running time : 124 minutes

In “The Third Murder,“ Hirokazu Kore-eda departs from his usual family-centered dramas and ventures into the legal thriller genre, exploring the concepts of truth, justice, and morality. The story revolves around Misumi, a middle-aged man with a criminal past, who confesses to the brutal murder of his former employer, Yamanaka. With overwhelming evidence stacked against him, Misumi is certain to receive the death penalty.

Enter Shigemori, an elite and pragmatic defense lawyer assigned to Misumi’s case. Shigemori’s primary goal is not to prove his client’s innocence but to reduce his sentence. However, as he begins to investigate, cracks in Misumi’s confession begin to appear. Misumi constantly changes his story—sometimes admitting to the crime, sometimes suggesting a different motive—and Shigemori starts to question the truth.

The more Shigemori digs into the case, the more he is consumed by doubt. He learns about Misumi’s relationship with the victim’s daughter, Sakie, a teenager with her own secrets, and uncovers new perspectives that blur the lines between guilt and innocence. Shigemori is forced to confront the ambiguity of the law, his role as a lawyer, and the nature of morality itself.

Rather than offering a clear resolution, Kore-eda focuses on the moral complexities of the justice system. The film explores how truth can be subjective, shaped by personal perspectives and societal expectations. Through Misumi’s enigmatic character and Shigemori’s growing uncertainty, “The Third Murder” questions whether the legal system is capable of delivering true justice.

“The Third Murder” received critical acclaim for its thought-provoking narrative and Kore-eda’s masterful direction. The film marked a significant departure from Kore-eda’s usual focus on family dramas, showcasing his versatility as a filmmaker. Critics praised the film’s philosophical depth, cinematography, and performances, particularly those of Kōji Yakusho and Masaharu Fukuyama.

Kōji Yakusho’s portrayal of Misumi was widely regarded as one of the highlights of the film. His ambiguous and understated performance kept audiences guessing about the character’s true intentions, creating an atmosphere of tension and unease. Masaharu Fukuyama also delivered a powerful performance as the conflicted lawyer, portraying Shigemori’s gradual unraveling with subtlety and depth.

The film premiered at the 2017 Venice International Film Festival, where it was nominated for the Golden Lion, the festival’s highest honor. It went on to screen at major festivals around the world, including the Toronto International Film Festival and the San Sebastián International Film Festival, further solidifying Kore-eda’s status as one of the most versatile and globally respected directors of his generation.

Within Japan, “The Third Murder” was recognized at the Japan Academy Prize, where it won six awards, including Best Film, Best Director, and Best Supporting Actor (Kōji Yakusho). Critics and audiences admired Kore-eda’s ability to challenge viewers’ perceptions of justice, guilt, and human nature, transforming a legal thriller into a profound philosophical exploration.

The film’s legacy lies in its ability to provoke thought about how truth is defined and manipulated, both in the courtroom and in society at large. By refusing to provide easy answers, Kore-eda compels viewers to confront their own understanding of morality and the imperfections of justice. “The Third Murder” remains a testament to Kore-eda’s ability to weave complexity and humanity into any genre, leaving a lasting impact on audiences long after the credits roll.

Shoplifters

Native title : 万引き家族 (Manbiki Kazoku)
Release date : June 8, 2018 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Lily Franky as Osamu Shibata, Sakura Andō as Nobuyo Shibata, Mayu Matsuoka as Aki Shibata, Kirin Kiki as Hatsue Shibata, Jyo Kairi as Shota Shibata, Miyu Sasaki as Yuri (Juri)
Country : Japan
Running time : 121 minutes

Amid Tokyo’s urban sprawl, a poor family ekes out a living through shoplifting, odd jobs, and shared resourcefulness. Osamu Shibata, the apparent head of the household, and his young son, Shota, regularly steal items from stores with a practiced efficiency. One evening, after one of their routine heists, they come across a young, neglected girl named Yuri (or Juri) shivering in the cold. Despite their own poverty, Osamu and his wife Nobuyo decide to take her in and care for her.

The Shibata household includes an aging grandmother, Hatsue, who contributes her pension to keep the family afloat, and Aki, a young woman with her own quiet struggles. Together, they form an unconventional but affectionate family unit that lives on the fringes of society. Though life is tough, their shared moments of joy and love—like going to the beach or enjoying simple meals—give the family a sense of purpose and connection.

However, their fragile existence begins to unravel when secrets about their relationships and Yuri’s presence come to light. A tragic incident forces the family into the public eye, exposing not only their illegal activities but also the truth behind their bond. As authorities attempt to dismantle what they deem an illegitimate family, Kore-eda raises poignant questions about what truly defines a family: blood relations or shared love and care?

The story unfolds with Kore-eda’s signature sensitivity, portraying the struggles of the poor without sensationalism or judgment. The Shibatas, while morally flawed, are deeply human—surviving in a world that often turns its back on those who have fallen through society’s cracks.

“Shoplifters“ received widespread critical acclaim and solidified Hirokazu Kore-eda’s reputation as one of the finest contemporary filmmakers. The film’s exploration of poverty, morality, and family resonated with audiences worldwide, delivering a powerful emotional impact.

At the 2018 Cannes Film Festival, “Shoplifters” won the Palme d’Or, the festival’s highest honor, making Kore-eda the first Japanese director in 21 years to achieve this distinction. The film was praised for its poignant storytelling, its beautifully drawn characters, and its ability to challenge conventional ideas of family and justice.

Following its triumph at Cannes, “Shoplifters” received numerous accolades, including nominations for Best Foreign Language Film at the 91st Academy Awards (Oscars) and the 76th Golden Globe Awards. It also won the Best Film award at the Asia Pacific Screen Awards and received recognition at festivals across the globe.

Critics applauded the film’s powerful performances, particularly those of Lily Franky, Sakura Andō, and the late Kirin Kiki, whose portrayal of the grandmother was both heartbreaking and memorable. Kore-eda’s restrained direction and masterful ability to depict human relationships elevated the film beyond a simple social critique.

The legacy of “Shoplifters” lies in its compassionate portrayal of society’s marginalized and its challenge to traditional notions of family. Kore-eda’s exploration of love, survival, and morality forces viewers to question societal systems that fail to protect the vulnerable. By finding beauty and dignity within an unconventional family unit, the film delivers a powerful and universal message: family is not defined by blood, but by the love and care people offer to one another.

Over time, “Shoplifters” has become a modern classic, widely regarded as one of Kore-eda’s greatest achievements. Its emotional depth, stunning visuals, and social relevance ensure its place among the most celebrated films in contemporary cinema.

La vérité

Native title : ラ・ヴェリテ (Ra Verite)
Release date : October 10, 2019 (Japan), December 25, 2019 (France)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Catherine Deneuve as Fabienne Dangeville, Juliette Binoche as Lumir, Ethan Hawke as Hank, Clémentine Grenier as Charlotte, Manon Clavel as Manon Lenoir
Country : France, Japan
Running time : 107 minutes

In “La Vérité” (The Truth), Hirokazu Kore-eda explores the complexity of family relationships in his first non-Japanese film. The story unfolds in Paris, where Fabienne Dangeville, a celebrated yet aging French actress, prepares for the release of her memoir. Fabienne’s career has been defined by her immense talent and ego, but her personal relationships—particularly with her daughter Lumir—remain strained.

When Lumir, a screenwriter living in New York, returns to Paris with her American husband Hank and their young daughter Charlotte, the reunion quickly exposes long-buried tensions. Lumir is frustrated by Fabienne’s self-serving version of events in her memoir, where she paints herself as an ideal mother and star. The truth, however, is far more complicated.

As Fabienne begins working on a new film—a science-fiction drama about a woman who never ages while those around her grow old—her relationship with Lumir becomes intertwined with her role. The fictional mother-daughter dynamic in the movie mirrors the real-life struggles between Fabienne and Lumir, forcing them to confront unresolved wounds and unspoken truths.

Throughout the film, Kore-eda delicately weaves together themes of memory, legacy, and the emotional cost of fame. Fabienne, despite her sharp wit and vanity, reveals vulnerability as she grapples with her age and the consequences of her choices. Lumir, on the other hand, struggles to reconcile her admiration for her mother’s talent with the resentment she feels toward Fabienne’s shortcomings as a parent.

With a mix of humor and melancholy, “La Vérité” highlights the complexities of familial bonds and the blurred lines between performance and reality. The film’s quiet moments of reflection and confrontation culminate in a tender acknowledgment of the imperfections that define both art and life.

“La Vérité” premiered as the opening film at the 76th Venice International Film Festival in 2019, marking Hirokazu Kore-eda’s debut in French cinema and his first international production. The film received praise for its elegant storytelling and Kore-eda’s ability to adapt his signature style—rooted in subtle emotional realism—to a European setting.

Critics highlighted the outstanding performances of Catherine Deneuve and Juliette Binoche, whose on-screen chemistry brings depth to their complicated mother-daughter relationship. Deneuve, in particular, was lauded for her portrayal of Fabienne, a character whose larger-than-life presence masks vulnerability and regret. The role allowed Deneuve to deliver one of her most nuanced performances in years, seamlessly blending sharp humor with quiet introspection.

Kore-eda’s direction was praised for its sensitivity and restraint. While “La Vérité” deviates from Kore-eda’s typical focus on Japanese family dynamics, the film retains his trademark ability to capture human relationships with warmth and authenticity. Critics noted how Kore-eda’s exploration of memory, truth, and family resonated universally, proving his versatility as a filmmaker.

The film was well-received at international festivals and earned nominations at the César Awards and other European film events. While not as widely celebrated as “Shoplifters” or “Like Father, Like Son”, “La Vérité” solidified Kore-eda’s status as a globally significant director capable of transcending cultural and linguistic barriers.

Over time, “La Vérité” has been recognized for its graceful exploration of family, fame, and the nature of truth. Kore-eda’s collaboration with two of France’s most iconic actresses brought new dimensions to his storytelling, demonstrating that human connections—flawed yet beautiful—remain at the heart of his work.

Broker

Native title : 브로커 (Beurokeo)
Release date : June 8, 2022 (South Korea)
Directed by : Hirokazu Kore-eda
Written by : Hirokazu Kore-eda
CAST : Song Kang-ho as Ha Sang-hyeon, Gang Dong-won as Dong-soo, Bae Doona as Soo-jin, Lee Ji-eun (IU) as Moon So-young, Lee Joo-young as Detective Lee
Country : South Korea
Running time : 129 minutes

Set in South Korea, “Broker“ explores the lives of those connected by an unconventional act: the brokering of abandoned babies. Ha Sang-hyeon, a laundromat owner struggling to make ends meet, and Dong-soo, an orphan who works at a nearby church, secretly run an illegal operation. They take babies left in the church’s “baby box”—a safe drop-off for unwanted infants—and sell them to adoptive parents seeking children.

The story begins when a young mother, Moon So-young, unexpectedly returns to the church after leaving her baby. Upon discovering Sang-hyeon and Dong-soo’s operation, So-young decides to join them, claiming she wants to ensure her baby finds the right home. The trio sets off on a road trip to meet potential adoptive families while two detectives, Soo-jin and her partner Lee, secretly follow them, determined to catch them in the act.

As the journey unfolds, Kore-eda gently reveals the complexities of each character. Sang-hyeon and Dong-soo, despite their morally questionable work, are shown to have empathy and genuine care for the children they handle. So-young, who initially seems cold and detached, slowly opens up about her troubled past, shedding light on her motivations and struggles as a mother.

The road trip becomes a vehicle for emotional growth, connection, and reflection. Bonds begin to form among the unlikely group, blurring the lines between strangers and family. By the time the story reaches its conclusion, the characters’ choices and actions challenge viewers to reconsider societal judgments, particularly around motherhood, poverty, and what it means to do the right thing in a flawed world.

“Broker” marked Hirokazu Kore-eda’s first South Korean production and was met with widespread acclaim for its compassionate storytelling and layered performances. The film premiered at the 2022 Cannes Film Festival, where it competed for the prestigious Palme d’Or. Song Kang-ho, a veteran actor known for “Parasite”, received the Best Actor Award at Cannes for his nuanced portrayal of Sang-hyeon, making history as the first South Korean male actor to win this award.

Critics praised Kore-eda for seamlessly blending his signature themes—family, connection, and morality—into a South Korean cultural context. The film’s exploration of the baby box system, which exists in real life, sparked conversations about societal neglect, adoption, and the judgment faced by vulnerable mothers. Kore-eda’s ability to handle such delicate themes without moralizing was celebrated, with reviewers noting the film’s tender, humanistic tone.

Performances from the ensemble cast were widely applauded. Lee Ji-eun (IU) delivered a standout performance as Moon So-young, portraying the complexities of a struggling young mother with subtlety and emotional depth. Bae Doona and Gang Dong-won brought grounded performances to their roles, further elevating the film’s exploration of human relationships.

While the story raises questions about morality and societal systems, its ultimate focus lies in the quiet moments of love and redemption shared between flawed individuals. Much like “Shoplifters”, Kore-eda’s previous Palme d’Or-winning film, “Broker” examines unconventional family dynamics and challenges traditional definitions of right and wrong.

Over time, “Broker” has been recognized as a beautiful, thought-provoking addition to Kore-eda’s body of work. The film demonstrates his ability to transcend cultural and linguistic boundaries, crafting stories that resonate universally. With its heartfelt message and masterful storytelling, “Broker” reaffirms Kore-eda’s reputation as a filmmaker who finds grace and humanity in life’s most unexpected connections.

MONSTER

Native title : 怪物 (Kaibutsu)
Release date : June 2, 2023 (Japan)
Directed by : Hirokazu Kore-eda
Written by : Yuji Sakamoto
CAST : Sakura Ando as Saori Mugino, Eita Nagayama as Michitoshi Hori (teacher), Soya Kurokawa as Minato Mugino, Hinata Hiiragi as Yori Hoshikawa, Yūko Tanaka as the school principal
Country : Japan
Running time : 126 minutes

The story of “Monster” unfolds through multiple perspectives, slowly revealing the truth behind a series of misunderstandings and conflicts. At the heart of the film is Minato, a young boy living with his single mother, Saori Mugino. When Minato begins behaving strangely and exhibits signs of emotional distress, Saori becomes deeply concerned. Suspecting that her son’s teacher, Mr. Hori, might be mistreating him, she demands answers from the school and its administration.

Initially, the narrative follows Saori’s perspective as she fiercely protects her child, uncovering hints of potential abuse or bullying. However, as the film shifts to the viewpoints of Mr. Hori and Minato himself, a more complex and layered story begins to emerge. Kore-eda uses these shifting perspectives to deconstruct the events, revealing that the truth is far more nuanced than it first appeared.

The story also introduces Yori Hoshikawa, Minato’s quiet and mysterious classmate, whose relationship with Minato becomes key to understanding the events. Their bond, built on shared struggles and moments of connection, becomes a touching and tender exploration of childhood friendships, loneliness, and acceptance.

Through this Rashomon-like narrative structure, Kore-eda skillfully highlights the impact of perception, communication failures, and societal pressures on both children and adults. As the truth is slowly pieced together, “Monster” explores themes of innocence, identity, and the quiet struggles faced by children who are misunderstood by the adults around them.

“Monster” premiered at the 2023 Cannes Film Festival, where it received critical acclaim and earned the Best Screenplay Award for Yuji Sakamoto. The film’s layered narrative and Kore-eda’s masterful direction were praised for their ability to challenge viewers’ assumptions, creating an emotionally powerful experience.

Critics lauded the film’s performances, particularly Sakura Ando as the fiercely protective yet vulnerable mother, and the young actors Soya Kurokawa and Hinata Hiiragi, who delivered natural and deeply moving portrayals of children navigating a complex world. The restrained yet expressive cinematography by Ryûto Kondô and the evocative musical score by Ryuichi Sakamoto (his final composition before his passing) added to the film’s emotional resonance, enhancing its contemplative tone.

The film was celebrated for its ability to address sensitive themes, such as societal judgment, childhood struggles, and communication breakdowns, without melodrama. By presenting the story through multiple perspectives, Kore-eda emphasized the complexity of human relationships and the importance of empathy in understanding others.

“Monster” stands as a testament to Kore-eda’s continued exploration of human emotions and societal dynamics. The film’s nuanced storytelling and universal themes ensure its place as a significant and enduring work in his filmography. It invites viewers to question their perceptions and reminds them that the truth often lies in the spaces between what is seen, heard, and understood.

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