**The following discusses the endings of Monster and Evil Does Not Exist. “Movies are the most powerful empathy machine in all the arts,” Roger Ebert…
With his latest film Monster, Hirokazu Kore-eda has outdone himself. Rather than make one bad film, as he usually does, the Japanese director has made…
On the occasion of him winning the Palme d’Or at the 2018 Cannes Film Festival for his film Shoplifters, I called Hirokazu Kore-eda “the Ron…
Glass Onion Rian Johnson’s latest stab at Wes Anderson-does-Clue has a lesser cast, a more pandering script, and a wholly phony “Eat the Rich” political…
Hirokazu Kore-eda feels distinctly uninterested in his own material here, a sentiment sure to be echoed by audiences. Japanese filmmaker Hirokazu Kore-eda has consistently shown an affinity…
Our first dispatch from the 2019 Toronto Film Festival (which runs from Sept. 5 – 15) finds us finally catching up with a lot of…
While it won the prestigious Palme d’Or at this year’s Cannes Film Festival, there’s nothing especially radical about Shoplifters that sets it apart from the other domestic…
This year’s Toronto International Film Festival, it has to be said, looks as if it may be one of the strongest slates since our site first…
From the title alone, Hirokazu Kore-eda’s follow-up to After the Storm is unlikely to elicit the usual comparisons to Ozu; broadly speaking, The Third Murder…
The 17th edition of the New York Asian Film Festival came to a close last Sunday. We already published one dispatch from the fest, focussing on some of…
Japanese masters Yasujiro Ozu and Mikio Naruse (among others) tapped into a cathartic cinema that favors real-time pacing and treats sequences of a tree quivering…