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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. A.
A Drill-Down on 10 Outstanding Films at Monterrey from Kore-eda to Rodriguez and Paramount-backed Argentine thriller ‘The Rescue’ Anna Marie de la Fuente September 25, 2023 at 1:52 AM
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).
The site's consensus reads: "Hirokazu Kore-eda's film may seem modest at first, but this family drama casts a delicate, entrancing spell". [2] Metacritic ranked the film at 89%, which was based on 21 reviews. [3] In a Chicago Sun-Times review, Roger Ebert gave the work four stars and touted that Kore-eda is an heir of Yasujirō Ozu. [4]
Three of the four highest-grossing films, including Avatar at the top, were written and directed by James Cameron.. With a worldwide box-office gross of over $2.9 billion, Avatar is proclaimed to be the "highest-grossing" film, but such claims usually refer to theatrical revenues only and do not take into account home video and television income, which can form a significant portion of a film ...
After Life, known in Japan as Wonderful Life (ワンダフルライフ, Wandafuru Raifu), is a 1998 Japanese film edited, written and directed by Hirokazu Kore-eda starring Arata, Erika Oda and Susumu Terajima. [1]
Maborosi, known in Japan as Maboroshi no Hikari (Japanese: 幻の光, literally "phantasmic light", but best translated as 'a trick of the light'), is a 1995 Japanese drama film by director Hirokazu Kore-eda starring Makiko Esumi, Tadanobu Asano, and Takashi Naito. It is based on a novel by Teru Miyamoto.
Kore-eda described it as his "socially conscious" film. [16] With this story, Kore-eda said he did not want the perspective to be from only a few individual characters, but to capture "the family within the society", a "wide point of view" in the vein of his 2004 film Nobody Knows . [ 4 ]