A hyper-realistic Japanese masterpiece that tears at your heart. Unforgettable!
This year’s Palme d’Or winner, “Shoplifters” (2018) by Hirokazu Koreeda (“Nobody Knows,” “Like Father, Like Son”), is a transcendental morality-crime-drama where family bonds take center stage.
“Shoplifters” can be connected to other notable classic works on similar themes, such as the Italian Neo-realistic film “Bicycle Thieves/Ladri di Biciclette” (1948) by Vittorio de Sica. Robert Bresson’s French New Wave film “Pickpocket” (1951) is another example. More recently, the Mexican horror film “Somos lo que hay/We Are What We Are” (2010) by Jorge Michel Grau and the 2015 Argentine crime-family drama “The Clan” by Pablo Trapero also explore similar themes.
These powerful films depict a family of criminals working together toward a common goal—illegally obtaining goods that their tough living conditions prevent them from affording. Family ties and complicity are at the heart of their actions, and their methods are alike. They naively believe there is nothing wrong with their actions, even as their crimes include petty theft, kidnapping, and in some cases... murder.
“Shoplifters” begins when a young man, in collusion with his father, enters a store to steal goods. Their action plan involves hand signals, body language, and a smooth escape.
Over dinner, the older and prettier “sister” complains about why they forgot to steal the shampoo. The “grandmother” is an excellent cook and clever deal-maker.
The “wife” is exhausted but still has enough energy to find out what’s happening with the little girl that the father and their talented “son” found in a cold alley.
They want to do the right thing and take the little girl to her proper parents. Soon, they realize that the girl has bruises from domestic violence. Without understanding the legal consequences, they bring her home, change her appearance, and treat her as their “daughter."
“Shoplifters” achieves universality by depicting a working-class family struggling to meet their financial goals through their part-time jobs. As a result, they steal goods they cannot afford. Remember, “two wrongs don’t make a right.”
The controversy revolves around Japanese morality and the image they project to the world as a developed nation, while some of its people still endure hardship, isolation, and poverty.
“Shoplifters” is a remarkable work of art with compelling performances, sharp cinematography, a well-structured script thoroughly detailing each character’s background, and a convincing ending. The film’s pace moves the story along quickly thanks to its skillful editing.
Venerable actress Kirin Kiki (“After the Storm,” “Still Walking,” “Kamikaze Girls”) delivers a wonderful performance as the grandmother. Sadly, she passed away from cancer three months after returning from Cannes 2018.
Actor Lily Franky (“Scoop!,” “Blank 13,” “Like Father, Like Son”) plays the family patriarch, Osamu Shibata, who naively teaches his children the art of stealing. The mother, Nobuyo Shibata, passionately portrayed by actress Sakura Andó (“Love Exposure,” “100 Yen Love,” “0.5 Mn”), completes the impressive cast.
Hirokazu Kore-eda’s latest film explores the truth about family lessons, questioning who really is the right person for another. What makes a parent?
The one who gives birth, or the one who raises the children, ironically speaking.
“Shoplifters” depicts a cold world where everyone is searching for love. However, the unconventional actions that drive them apart cast doubt on the family’s love.
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| Hirokazu Koreeda, director. Film critic José Alberto Hermosillo |
The harsh reality presented in the film is accentuated by the characters’ wrongdoings, betrayals, and disjointed affairs, questioning the concepts of loyalty, love, and self-respect in a desolate and dark universe.
“Shoplifters” is the Japanese Official Entry for Best Foreign Language Film at the 91st Academy Awards® and, without a doubt, is a sure contender to reach an Oscar® nomination this year.
“Shoplifters” is amusing, unforgettable, and heartbreaking. For some audiences, it is hard to connect the actions and relationships of every character in the film due to the cryptic, opaque, and at the same time, complex emotions reflected in the story.
