1. 00:35Why begin our first sustained discussion of Japanese cinema with Nobody Knows?

2. 01:31From Takeshi Kitano to Hirokazu Kore-eda: who best represents Japan’s Heisei-era cinema?

3. 03:38After Still Walking, Kore-eda deliberately moved toward warmer, more popular films.

4. 05:04His documentary foundation: filming social problems without turning the camera into accusation.

5. 07:48From abandoned people to families without blood ties: a thread running through Kore-eda’s work.

6. 09:39Objectivity and neutrality do not exist: documentary does not reproduce reality but lets it emerge before the camera.

7. 12:32Why Kore-eda repeatedly films children: neorealism, Kes, and a failed teaching qualification.

8. 15:09Refusing to trick emotion from children: auditions, trust, and ethics on set.

9. 17:04Is Kore-eda truly a modern Ozu? Similar family subjects conceal different concerns.

10. 20:39Ozu considers time and traditional values; Kore-eda’s concerns are closer to Mikio Naruse.

11. 22:34Shoplifters asks whether the blood family is the only possible family.

12. 24:16Kore-eda’s television past: drama, documentary, and accidents before the lens.

1. Ah Wu: Kore-eda does not begin from social politics or accusation directed at government or an institution.He films the most authentic and painful conditions in which people survive a crisis.

2. Ah Wu: Kore-eda does not admire detached observational documentary. What matters is keeping reality open and opening the subject’s heart. Documentary must have no preset and cannot be filmed as reproduction; he calls reality something that is generated.