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    "'Thank you for being born.' - A single sentence that touches the audience in such a way that entire films rarely can. When every character, no matter how small or large, is intricately layered, simultaneously fractured and in the end so lovingly developed, that's cinema. Great cinema. This film is a journey. One filled with longings, with decisions, with detours. Sometimes it is precisely these detours that we must take in life to find ourselves and each other. And we found a bit of ourselves in this film." --Citation of the Best International film award for Broker at the Munich film festival T wo contemporary Japanese directors Hirokazu Kore-eda and Naomi Kawase are fascinating filmmakers because both make wonderful, distinctive films, both write their own original screenplays and most of their tales revolve around relationships involving parents and children, orphans and adoption. Sometimes the parents are old and dying, sometimes they are young and experi...

G ood Korean cinema often involves very little verbal talk. The visuals often do the talking, which is not common for movies made in most parts of the world.  Chang-dong Lee’s Poetry is one such example where body language is more eloquent than the spoken word—unusual indeed for a film ironically called Poetry , a literary form that survives on words. Early in the film, the viewer gets the feel that the tale has much to do with dementia. As the film progresses, the film shifts to examining tenuous human relationships.  Later in the film, the subject shifts gears again to focus on lack of communication between sexes and generations.  Strangely the film suggests that clumsy attempts by dilettantes at poetry writing could serve as a fulcrum to launch proactive communication between two individuals who would otherwise  have  remained insulated in their own shells. A   Korean teacher of poetry induces his motley group of adult students to write poetry by asking...