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Another quiet delight from Koreeda.
Slant Magazine by
The film scores all of its thematic points early, commenting intriguingly, if ultimately rather obviously, on the demands of Japanese patriarchy.
The film is starved for the kind of nuance Kore-eda wields effortlessly elsewhere. What’s left without it is something merely schematic.
The Hollywood Reporter by
A lovely film that makes little emotional connection.
The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
Time Out London by
There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
The Playlist by
Hirokazu has crafted a warm and lovely film that suggests the easiest thing about raising a child is embracing how complicated it can be.
The director retains his controlled style even as he moves toward a more traditional narrative mode.
The Guardian by
This is a sweet-natured, but essentially undemanding film from Kore-eda.
The Telegraph by
Kore-eda has crafted a piercing, tender poem about the bittersweet ebb and flow of paternal love, and his status as Ozu's heir becomes ever more assured.
This is a love story.
What is the one memory you would take with you?
A little bit of magic and a little bit of love.
With every mystery comes another, and another, and another...
Sin is in all of us --- it just takes different forms.
A story that revolves around three sisters who live in their grandmother's home and the arrival of their 13-year-old half sister.
Who knows what a bright new morning can bring?