Review: Shoplifters

Earlier this year I reviewed Japanese director Hirokazu Kore-Eda’s film The Third Murder. Departing from his traditional style, the main issue I had was that with this change, some of the greater emotional depth of his prior work did not quite make the transition. Now, within the same year (in the UK at least) he returns to familiar ground with Shoplifters, and with it comes the cementing of Kore-Eda as one of Japan’s greatest filmmakers, living or dead.

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Review: The Third Murder, Glasgow Film Fest 2018

Over the past two decades, Hirokazu Kore-Eda has quietly established himself as a director with an exceptional grasp of portraying interpersonal relationships. After a number of documentaries (and one drama, Maborosi) his feature After Life, released in 1998 and also written and edited by Kore-Eda himself, began a career that has featured wonderful pieces of human drama in the forms of Still Walking, I Wish, Nobody Knows and more.

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Review: Don’t Talk To Irene, Glasgow Film Fest 2018

Does a film need to strive for originality when it executes its premise so confidently? As the credits rolled on Don’t Talk to Irene, I couldn’t help but compare it to the raft of quirky indie comedies that have seemingly become a subgenre in and of themselves ever since Little Miss Sunshine made waves back in 2006. Yet I still had the biggest smile on my face, and came away thinking it was amongst the strongest films I had seen at the Glasgow Film Festival thus far.

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Review: Junk Head, Glasgow Film Fest 2018

It is rare that you get to see a film that can be considered a truly singular vision. While cinema is full of renowned auteurs, as a viewer we also understand that these are projects undertaken by hundreds of people. Not Junk Head. The ending credits are an eye-opener, with creator Takahide Hori credited under every possible position, starting from “Director” all the way to “Model Sculptor”. To call it a labour of love would be an understatement.

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