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Pages in category "Films directed by Hirokazu Kore-eda" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes .
Hirokazu Kore-eda (是枝 裕和, Koreeda Hirokazu, born 6 June 1962) is a Japanese film director, producer, screenwriter, and editor. He began his career in television and has since directed more than a dozen feature films , including Nobody Knows (2004), Still Walking (2008), and After the Storm (2016).
Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international ...
“Monster,” Hirokazu Kore-eda, Japan Described by Variety critic Peter Debruge as a “convoluted portrait of a pre-teen in turmoil,” Kore-eda ‘s Palme d’Or best script and Queer Palm ...
The following table lists known estimated box office ticket sales for various high-grossing films that have sold at least 100 million tickets worldwide. Note that some of the data are incomplete due to a lack of available admissions data from a number of box office territories. Therefore, it is not an exhaustive list of all the highest-grossing ...
A small, mid-20th century social-service-style structure is a way station between life and death. Every Monday, a group of recently deceased people check-in: the social workers in the lodge ask them to go back over their life and choose one single memory to take into the afterlife.
The following is a list of the highest-grossing openings for non-English films. Since films do not open on Fridays in many markets, the 'opening' is taken to be the gross between the first day of release and the first Sunday following the film's release. Only films that have to an opening above $50 million qualify for the list.
Kore-eda was originally interested in the disciples of Aum Shinrikyo, which had committed the Tokyo subway sarin attack.He did not intend for the film to be a direct critique of these type of sects but rather that it would bring attention to everybody's civic responsibility to stopping such attacks and "how each individual is directly related to or is responsible for a criminal act".