Kore-eda Brings Korean Road Trip Drama to Cannes with ‘Broker’

The 75th Cannes Film Festival - Screening of the film "Broker" (Les bonnes etoiles) in competition - Red Carpet Arrivals - Cannes, France, May 26, 2022. Director Hirokazu Kore-eda, cast members Song Kang-Ho and Lee Ji-eun (known as IU) pose. (Reuters)
The 75th Cannes Film Festival - Screening of the film "Broker" (Les bonnes etoiles) in competition - Red Carpet Arrivals - Cannes, France, May 26, 2022. Director Hirokazu Kore-eda, cast members Song Kang-Ho and Lee Ji-eun (known as IU) pose. (Reuters)
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Kore-eda Brings Korean Road Trip Drama to Cannes with ‘Broker’

The 75th Cannes Film Festival - Screening of the film "Broker" (Les bonnes etoiles) in competition - Red Carpet Arrivals - Cannes, France, May 26, 2022. Director Hirokazu Kore-eda, cast members Song Kang-Ho and Lee Ji-eun (known as IU) pose. (Reuters)
The 75th Cannes Film Festival - Screening of the film "Broker" (Les bonnes etoiles) in competition - Red Carpet Arrivals - Cannes, France, May 26, 2022. Director Hirokazu Kore-eda, cast members Song Kang-Ho and Lee Ji-eun (known as IU) pose. (Reuters)

Acclaimed Japanese director Hirokazu Kore-eda collaborated with an all-star Korean cast for his story of three crooks and a baby in "Broker", which premiered Thursday at the Cannes Film Festival in southern France.

Song Kang-ho, known for his role in Oscar-winning black comedy "Parasite", plays one of a duo of crooks who steal an abandoned infant from a church's "baby box", intending to sell it on the black market.

But the plan meets a hitch when the baby's mother goes to reclaim the child and winds up joining the pair on a road trip to find suitable parents, hoping to take her share of the money.

Kore-eda said the project originated in 2016 when a group of Korean actors he admired, including Song, said they wanted to make a movie together.

Kore-eda cast Korean pop star Lee Ji-eun, known as IU, to play the baby's mother So-Young, a fugitive prostitute who resists her maternal instinct.

The unlikely trio ultimately find a family in each other - a running theme in the work of Kore-eda, who won the Cannes Palme d'Or in 2018 with "Shoplifters" and the jury prize in 2013 with "Like Father, Like Son".

"The road trip was about the different characters searching for what they had lost and what they were missing... As they surround this baby, Woo-sung, through their journey they all start thinking about would be best for the baby's happiness," Kore-eda said in an interview with Reuters.

Casting the baby proved challenging because the pandemic forced him to rely on screenshots, Kore-eda said. But the infant actor provided spontaneous moments, such as by crying just as Song's character Sang-hyun was about to sell him to a couple.

It seemed that the language barrier was broken not only between Japanese and Korean, but also with baby talk.

"I think it was the last scene, when the baby is looking at me, I had the impression he was saying, 'Well, listen let's stop shooting. We've done enough takes, let's stop.'", Song said.



‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
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‘Mufasa’ and ‘Sonic 3’ Rule First Weekend of 2025

Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)
Director Barry Jenkins at the premiere of "Mufasa: The Lion King." (AFP via Getty Images)

The Walt Disney Co.’s “Mufasa” claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.

The photorealistic “Lion King” prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount’s “Sonic the Hedgehog 3,” which has dominated the past two weekends, wasn’t far behind.

“Sonic 3” stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. “Mufasa’s” running total is slightly less, with $169.2 million.

In third place, Focus Features’ “Nosferatu” remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable.

“Nosferatu,” which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).

No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, “Moana 2,” claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.

The Bob Dylan biopic “A Complete Unknown,” dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in 2019.

A24’s drama “Babygirl," which added 49 locations, held steady at $4.5 million.

Another Thanksgiving leftover, “Wicked,” rounded out the top five. Universal’s movie musical was made available to purchase on VOD on Jan. 31, but still earned another $10.2 million from theaters. The movie is up for several awards at Sunday’s Golden Globes, including nominations for Cynthia Erivo, Ariana Grande, best motion picture musical or comedy and “cinematic and box office achievement,” which last year went to “Barbie.”

Also in theaters this weekend was the IMAX re-release of David Fincher’s 4K restoration of “Seven,” which earned just over $1 million from 200 locations.

The 2025 box office year is already off to a better start than 2024, up around 20% from the same weekend last year.