Recently, it was Hirokazu Koreeda’s new work “The Broker” which was launched on Korean streaming media, and many Chinese fans took the opportunity to watch this long-awaited work. As Hiroka’s first Korean-language film, “The Broker” attracted a group of top Korean stars including Song Kang-ho, Bae Doo-na, and Kang Dong-won, and also won Song Kang-ho’s Best Actor Award at the Cannes Film Festival, which is regarded as Japan and South Korea. An example of cooperation between the two countries.
It is a pity that this film has not received the expected reputation. At present, the Douban score is only 6.7, which can be said to be the work of Hirokazu Kore-eda that has received the worst response among Chinese audiences.
In China, Hirokazu Kore-eda is probably the most well-recognized Japanese director among the living Japanese directors. His “The Thief’s Family” has also received a box office of nearly 100 million yuan in the mainland. Four years later, this “Broker”, which seems to be almost the same as “The Thief’s Family”, has suffered from a bad reputation. Did the audience’s taste change, or did Hirokazu-eda really miss it?
Audiences who are familiar with Hirokazu Koreeda know that family is a constant motif of Hirokazu Koreeda, and he is always accustomed to placing his observations on social issues within the framework of East Asian families. From the early years of “Illusionary Light” and “Nobody Knows” to “The Thief Family” and “The Truth” in recent years, he has not given up his obsession with this theme.
In his long creative career, it was Hirokazu Koeda who was often regarded as the essence of Yasujiro Ozu