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#broker movie
hwajoongie · 2 years
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FISTS CLENCHED...
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babybroker · 2 years
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(220526) Broker (2022) Cannes red carpet premiere | NEON
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Sometimes found family is a woman, the baby she gave up, two men who kidnapped the baby to sell, and the orphan who stowed away in their car
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ihqreviews0 · 1 year
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rickchung · 2 years
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Broker (dir. Hirokazu Kore-eda) x VIFF 2022.
Working in South Korea for the first time, the Japanese filmmaker tells another sprawling found family drama about black market baby adoption. It’s a moving and empathetic story about makeshift families weaving in elements of crime and police procedurals to heighten its sense of melodrama. Kore-eda finds new ways to express his familiar themes about well-meaning but emotionally scarred low-level criminals trying to do their best.
Song Kang-ho and Gang Dong-won star as grifters who take abandoned babies destined for the orphanage and sell them to hopeful parents in a rather unconventionally sweet tale of (what is technically) human trafficking. Even the cops in the film are charmed by the compassionate criminals by some measure. However, it’s pop star Lee Ji-eun (aka IU) who stands out as the troubled single mother who leaves her infant in a church’s “baby box” in a compelling performance grounding the interconnected storylines.
Screening at the closing gala of the 2022 Vancouver International Film Festival at The Centre for Performing Art on Oct. 8 (& 9).
Screening as part of VAFF Lunar New Year on Jan. 11.
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lazycranberrydoodles · 9 months
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i think the barbie movie would have a profound psychological impact on hua cheng
prev comic / next comic / follow for still more hualian barbie movie content because i am not done
bonus angsty version 🎉 i hate love expressions just a couple tiny lines on the mouth and eyebrows and it goes from silly to sad
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:(
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blodbranddod · 4 months
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I like lists
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beingharsh · 8 months
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Air Doll (2009), dir. Hirokazu Kore-eda / Broker (2022), dir. Hirokazu Kore-eda
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dyingenigma · 2 years
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Broker 브로커 (2022) dir. Hirokazu Koreeda
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mishikaiya · 1 year
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@trekkiemage I am your giftee this year for @masseffectholidaycheer‘s annual reaping gift exchange! I hope you enjoy my tribute to that found family juice we both love so much!
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filmsfromreel · 1 year
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7 Great Films Snubbed at the 95th Academy Awards
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This year’s Academy Awards was a controversy-free celebration. Many of the awards handed out went to deserved winners, there were feel-good moments as Ke Huy Quan and Brendan Fraser accepted their awards after years away from the spotlight and there was no doubt that Everything Everywhere All At Once’s historic 7 wins were warranted. But, like all years at the Oscars, there are some omissions that deserved to be included. While we think this year’s winners were a wonderful collection of films, it would be remiss of us if we didn’t talk about some of the great films that were barely included. 
1. Decision to Leave
Director: Park Chan-wook | Crime, Drama | Language: Korean
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Arguably one of the best film’s from 2022, Chan-wook’s unique Crime Drama solidifies why he’s one of the most distinct Directors working today. The zippy pace and attention to detail are what hook you to Decision to Leave but the Director’s approach to storytelling is wholly unique – even when compared to the films nominated at this year’s Oscars. 
Park Chan-wook’s storytelling is akin to that of Paul Thomas Anderson, while they are both dramatically different in style both filmmakers often tell their stories with an enigmatic quality that, although you’re not sure how or why, you are left completely in awe of the talent on show. Decision to Leave may not be as groundbreaking as Oldboy or as pitch-perfect as The Handmaiden, but it still stands head and shoulders above a lot of films released in the same year and while it’s been nominated numerous times over the award season, it feels like a shame not to see it honoured on the big night. 
2. The Northman
Director: Robert Eggers | Action, Drama
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The only logical reason that Robert Egger’s Viking epic could have been snubbed entirely for this year’s Academy Awards is that it was released so early in the year that it slipped everyone’s minds come voting season. Whether it was the striking score, beautifully constructed sets shot with stunning cinematography, captivating performances not only from the lead Alexander Skarsgard but Nicole Kidman, Anya Taylor-Joy, Ethan Hawke and Willem Dafoe, to the bold and inventive directing, there’s so much worthy of high praise.
Arguably the only aspect lacking compared to Egger’s previous outings is a uniqueness that something like The Lighthouse held – but it’s no excuse for excluding one of the best films of the year from the Oscars, especially when there is so much across the film’s production to celebrate.
3. Nope
Director: Jordan Peele | Horror, Sci-Fi
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It’s difficult to pinpoint where exactly Jordan Peele’s newest film fits into the Oscars, potentially for its enigmatic screenplay, wonderful creature design or even for the scene stealing performance by Keke Palmer. But, regardless of where it fits, it seems a shame not to honour such a unique film.
The natural response to seeing one of his films is to compare it to Get Out, the film that won Peele his Oscar and became one of the most important films of the 21st Century. While Nope doesn’t feel as instant in its quality there is good reason to believe that in a few years, audiences will relish Nope for its singularity and also for Peele’s aptitude for storytelling. This is a wonderfully complex, funny and incredibly tense film that despite being snubbed for a lot of awards, will hopefully gather an audience for years to come.
4. The Woman King
Director: Gina Prince-Bythewood | Action, Drama, History | Languages: English, Portuguese
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Gina Prince-Bythewood’s historical tale got two nominations at the BAFTAs, one for star Viola Davis’ powerhouse performance and also a nod for the Director herself, leaving to wonder just why it was left out at the Oscars. Davis’ performance, while commanding, was up against a number of fantastic Leading Actress performances this year. But, Bythewood’s lack of nomination seems to be a misstep from the Academy. 
There is an argument that structurally The Woman King isn’t much different from a number of action films we’ve seen but what’s more important is the representation and celebration it’s giving to it’s story. In recent years the world has been imploring Hollywood to create more diverse and dynamic roles instead of changing old ones and The Woman King does exactly that. It’s just a shame the Academy wouldn’t celebrate the film as much as we did.
5. Broker
Director: Hirokazu Kore-eda | Comedy, Drama, Crime | Languages: Korean
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Many people have compared Hirokazu Kore-eda’s latest film to his 2018 drama Shoplifters. In some ways it’s a spiritual successor (Kore-eda himself calling it a companion piece), skirting some of the same themes of class structure and social standings, as well as the functionalities of family and what makes a ‘traditional’ family. Broker manages to talk about these same issues as well as infusing discussions of parental responsibility whilst keeping the mood light and fun – no easy feat.
Alongside this, Kore-eda somehow manages to make you sympathise with human traffickers – not the most malicious or intelligent, but pursued by the police for their crimes nonetheless. It might not be the home run Shoplifters was, but Broker still manages to inject some incredibly human and joyous moments in a strange tale of selling a child, all in his non-native language of Korean, not missing a step in cultural references either. Whether it was for Best International Film, Original Screenplay, or even an argument can be made for Best Director, the Academy missed a gem of a film this year.
6. Aftersun
Director: Charlotte Wells | Drama
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Charlotte Wells’ nostalgic drama is less of a snub due to Paul Mescal’s touching performance getting a nomination, but the film’s quality lies in much more than its performances. At the BAFTAs the director accepted the award for Outstanding Debut and described the film as a eulogy to her Father – something that she achieves with a visceral and subtle reflection of watching someone you love suffer in silence.
As a distinctly British product it’s understandable that this film didn’t shake the Academy voters as much as the BAFTAs, but the film’s gorgeously told story is one of the best of the year. Many films that tell a ‘personal’ story rarely achieve the emotional connection that Aftersun achieves, and while it was a shame not to see more limelight shed on the film as a whole, there is no doubt that everyone will be eagerly awaiting what Wells does next.
7. Bones and All
Director: Luca Guadagino | Drama, Horror, Romance
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The most obvious reason for not including Luca Guadagino’s latest film could be the fact it’s a love story road trip about cannibals – but it’s for that same reason it seems like a missed opportunity to open up the wonderfully weird story to the mainstream. With films like Everything, Everywhere All at Once making waves it seems like the Academy are changing their tone to quirky independent cinema, branching into the originality out there.
Whilst it might not have won many awards the performances from Timothee Chalamet, and more notably Taylor Russell and Mark Rylance, are enticing and exciting, bringing a grounded and relatable edge to a story that could have easily been disconnected and unrelatable. Guadagnino balances David Kajganich’s script with ease and a certain aesthetic beauty that many people first noticed in Call Me by Your Name – despite being in an unusual narrative, comes together in an intoxicating (and sometimes terrifying) coming of age tale.
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babybroker · 2 years
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(220526) Broker (2022) received a 12 minute long standing ovation during its premiere at the 2022 Cannes Film Festival, setting a new record as the longest-ever standing ovation for a Korean film at the festival.
Broker, the first-ever Korean-language film by Japanese filmmaker Hirokazu Kore-eda, recently premiered at the 2022 Cannes Film Festival on May 27. Once the screening had concluded, the film received a 12-minute-long standing ovation from those in-attendance.
The film’s overwhelming reception at the festival the longest standing ovation ever given to a Korean film at the Cannes Film Festival, beating out the Park Chan-wook-directed film Thirst in 2009.
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emblazons · 1 year
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The sheer aesthetic power of Ziggy Katz is unmatched
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youtube
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brokerkisser · 6 months
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I feel like missing links #1 fan and it's probably a fact. I hope my autism will stick to this thing till death. I am missing link's biggest fan!!!!!!!!!!!!
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firstfullmoon · 1 year
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help i can’t stop thinking about bones and all & listening to (you made it feel like) home UGH
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