In Hirokazu Kore-eda’s latest film, Sheep in the Box, a grieving couple seeks solace in technology to cope with the loss of their son. The film premieres in U.S. theaters on Friday. The plot centers on a couple who commission a humanoid replica of their deceased child.
The title alludes to Antoine de Saint-Exupéry’s The Little Prince, where a sheep is hidden inside a box. Kore-eda uses this reference to suggest that life’s most valuable connections are often unseen and intangible. The film, a family drama set in the near future, debuted at the Cannes Film Festival this year.
“It explores how a couple tries to rework their relationship with their child,” Kore-eda commented to The Associated Press. He believes this theme aligns with those in his previous works. Kore-eda, born in Tokyo in 1962, embarked on a career in documentaries post-Waseda University. Now, he predominantly writes, directs, and edits his films, maintaining creative control throughout the filmmaking process.
Kore-eda’s noteworthy films include Like Father, Like Son (2013), which won the Jury Prize at Cannes, and Shoplifters (2018), which earned the Palme d’Or and an Academy Award nomination. In 2019, he worked with French stars Catherine Deneuve and Juliette Binoche in The Truth. His 2022 film Broker featured Korean actors, with Song Kang-ho winning Best Actor at Cannes.
Renowned for fostering a positive environment on set, Kore-eda ensures everyone enjoys working on his projects. This is significant in an industry often characterized by long hours and low pay, especially in Japan. Kore-eda promptly ejects anyone found harassing colleagues from his film sets. His commitment is especially crucial given the frequent involvement of children in his stories.
His 2004 film Nobody Knows portrays children surviving without adult supervision. The film launched Yuya Yagira to stardom, earning him Best Actor at Cannes at only 14. Sheep in the Box highlights the talent of child actor Rimu Kuwaki, who debuts as a robot character.
Kore-eda insists he does not include children out of necessity but appreciates viewing the world from a child’s perspective. “It’s a heavy responsibility. We may be the first adults, apart from parents and teachers, that these children encounter,” he stated. “We want them to go home thinking all the adults were hard-working and having fun.”
Despite the serious themes often addressed in his work, Kore-eda possesses a charming demeanor. When asked what filmmaking means to him—a question posed similarly to Akira Kurosawa—he lightheartedly remarked: “Movies are the only hobby I’ve ever had. That became my job. Thinking about that hobby 24 hours a day became my life and my job.”
He concluded with gratitude, saying, “I am so blessed.”
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