Discussing the work of Japanese director Hirokazu Kore-eda in After Life (1998), Nobody Knows (2004), and, most importantly, Shoplifters (2018), this thesis aims to expand on the way the hybrid...Show moreDiscussing the work of Japanese director Hirokazu Kore-eda in After Life (1998), Nobody Knows (2004), and, most importantly, Shoplifters (2018), this thesis aims to expand on the way the hybrid documentary genre is defined by contemporary academic literature. Furthermore, it offers a different perspective on the lens through which we view Kore-eda’s recent filmography.Show less