Hirokazu Kore-eda
One of the most painfully lovely films of last year, Monster is a moving reminder of the importance of empathy and understanding.
With a simple premise but endless complexity, Monster sees Hirokazu Kore-eda’s compassion and empathy presented at such a masterful level.
Broker may not reach the heights of its predecessor, but it is a lovely depiction of a found family brought together in the strangest of ways.
Criterion welcomes classics new and old to its collection this month with the addition of Beasts of No Nation, Afterlife and more!
Here are highlights from the inaugural ACA Cinema Project online film series, 21st Century Japan: Films from 2001-2020.
A stormy reunion between a daughter and her actress mother, Catherine, against the backdrop of Catherine’s latest role in a sci-fi picture as a mother who never grows old.
Amanda Mazzillo reviews the latest from the Savannah Film Festival, including Knives Out, Honey Boy, and The Truth.
In his second report from Film Fest 919, Josh Martin reviews Ford V Ferrari, Honey Boy and The Truth.
After spending his entire career finding the profundity in the mundane, Kore-eda has produced his finest example of this yet in Shoplifters.
In Hirokazu Kore-eda’s Shoplifters, a family of small-time crooks take in a child they find on the street.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Our penultimate Toronto International Film Festival report brings you a review of Palme d’Or winner Shoplifters, plus films by Jia Zhangke, William McGregor, and more!
For MIFF Week One, Alex Lines reviews several films he was able to see, including Agnieszka Smoczynska’s new film, Matteo Garrone’s Dogman, and more.
On Cannes days 5 & 6, Gus Edgar saw a variety of films, including Gaspar Noe’s Climax, Mandy, and Spike Lee’s latest BlacKKKlansman.