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‘True Mothers’ Review: Family Entanglements Parents clash in this Japanese melodrama from Naomi Kawase. Aju Makita in “True Mothers.”Credit.Film Movement When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. Remarkably resistant to sentimentality in individual scenes yet baldly manipulative in the big picture, the melodrama “True Mothers” is probably the most mainstream effort yet from Naomi Kawase, a Japanese director who hasn’t received much distribution in the United States but has been a mainstay of the Cannes Film Festival for two decades. Although the pandemic canceled the festival in May, in June the Cannes programmers announced “True Mothers” as an official selection of the event-that-wasn’t (and later screened it at a mini-festival in October). The movie has the sort of densely plotted texture and widely accessible emotions that might have earned it the Palme d’Or

United statesMiyoko asadaNaomi kawaseAsato reo satoSatoko hiromi nagasakuMizuki tsujimuraKiyokazu arata iuraCannes film festivalHiromi nagasakuArata iuraReo satoAju makitaஒன்றுபட்டது மாநிலங்களில்மீயோக்கோ அசடாஅஷ்டோ ரியோ ஸாடோகேன்ஸ் படம் திருவிழா