The first, while absolutely awash in contemporary Japanese life, transcend such limits by adapting characters to situations that can appear anywhere, while the latter are observations of a far smaller nature, even if quite uniform, and well done. Having now watched most of Hirokazu Koreeda’s feature films, it seems fair to divide his work into two categories: that of timeless observations on relationships ( Still Walking, Nobody Knows), penetrating, and all-relevant, and his far more numerous, yet minor tales that flesh out those greater films’ peripheries (I Wish, Air Doll, Maborosi). Still, it’s a strong fit for the rising star.Hirokazu Koreeda’s Like Father, Like Son (2013). There’s no word on how, or even if, Wang’s film will further alter the story, which is ripe for all sorts of reimaginings and reinterpretations (perhaps set in the states? maybe featuring switched at birth daughters?). Kore-eda’s film starred Fukuyama Masaharu, Ono Machiko, Maki Yoko, and Lily Franky, and was produced by Kameyama Chihiro, Hatanaka Tatsuro, and Tom Yoda. Sundance Selects released the dramedy in the U.S., which examines two very different families who discover that their six-year-old sons were switched at birth. Kore-eda’s 2013 feature debuted at the Cannes Film Festival, where it won both the Jury Prize and the Prize of the Ecumenical Jury – Special Mention. Playwright Sarah Ruhl has been attached to write the screenplay and Wang will produce alongside Josh McLaughlin under his Wink Productions banner. A source close to Focus confirms the news, and that it is currently in early development stages at the studio. Observer reports that Wang has been tapped to direct an English-language remake of the beloved Hirokazu Kore-eda film “ Like Father, Like Son” for Focus Features. “The Farewell” filmmaker Lulu Wang has reportedly added another major product to her growing slate.
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