Before Chloe Zhao and Kore-eda Hirokazu sat down for their Tokyo International Film Festival conversation, they had each been crying over the other’s work.
Kore-eda watched Zhao’s “Hamnet” in a small screening room with just one other person, grateful no one else was there to see his tears. “I couldn’t stop crying,” the Japanese auteur admitted, moved by the film’s exploration of why creators tell stories and the communal act of experiencing tragedy together.
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That morning of their conversation, Zhao had risen at 4 a.m., jet-lagged, to watch Kore-eda’s 1998 masterpiece “After Life.” She was crying for an hour while her
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