![]() But in an effort to celebrate another masterpiece, I’ve chosen Isao Takahata’s exquisite “The Tale of the Princess Kaguya” as a work of nearly identical caliber. “The Tale of the Princess Kaguya.” Most would argue that the indisputable crowing jewel of Japanese cinema this century came early on with Miyazaki’s “Spirited Away,” and I would agree. Kore-eda is often compared to Ozu for his gentle pace and his focus on small moments, but Louisa May Alcott is just as much a reference point for “Our Little Sister.” I’ll always cherish the moment the sisters find a box of their late grandma’s clothes, open it, dig their noses in the folds of cloth, and declare, “That’s grandma’s smell!” Jordan Hoffman Freelance for Vanity Fair, The Guardian There’s unresolved pain from their parents’ separation, but Kore-eda doesn’t delve into the histrionics usually involved with depictions of “broken families” in American films – these young women know they have to make do, get on with life, and leave the self-pity behind. Three sisters take in a much younger half-sister after their father’s death. But I’d pick “Our Little Sister” as the best of the best. ![]() You could really choose any of Hirokazu Kore-eda’s films as “The Best Japanese Film of the 21st Century.” His glimpses of complex family dynamics are always moving without working hard to tug at your heartstrings. ![]()
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