Between The Lines: How Koreeda Uses Space To Create A Family

Hirokazu Koreeda’s camera grazes upon the mundane. A simple web search of the Japanese director’s — who is frequently compared to the cinematic guru Yasujiro Ozu — filmography presents a storyteller who finds nothing more mesmerising than the simple, the anti-dramatic, and most commonly, the prosaic romanticism of the family unit. Before Shoplifters won the Palme d’Or at the 2019 Cannes, Koreeda’s directorial brush coloured the cinematic canvas with works like After the Storm, Like Father Like Son, the heartbreaking …

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