A Hyper-Realistic Japanese heart-tearing Masterwork. Unforgettable! Grasping!
This year’s Palme d’Or winner, “Shoplifters” (2018) by Hirokazu Kore-eda (“Nobody Knows,” “Like Father, Like Son”) is a transcendental morality-crime-drama where family bonding matters.
“Shoplifters” can be linked to other considerable classic creations about the same subject – as the Italian Neo-realistic production “Bicycle Thieves/Ladri di Biciclette” (1948) by Vittorio de Sica. Robert Bresson's French New Wave “Pickpocket” (1951). Even more recently to the cannibal-horror Mexican flick “Somos lo que hay/We Are What We Are” (2010) by Jorge Michel Grau, and the Argentinian time-period, family-gangster-drama “The Clan” by Pablo Trapero.
Those highly intriguing films presented a family of crooks working together towards one goal – to illegally provide the group with goods that their living conditions can’t afford. The family complicity is imperative, and their modus-operandi is similar. They naively think that there is nothing wrong in their doing, even though their crimes include petty theft, kidnapping and in some cases... murder.
“Shoplifters” starts when a young man, in complicity with his father, enters a store to steal goods. Their plan of action includes hand signals, body language, and their gracious escape.
Over dinner, the older and prettier “sister” complains about why they forgot to steal the shampoo. The “grandmother” is an excellent cook and astute deal maker.
The “wife” is tired but still has the energy to find out what’s going on with the little girl that the father and their hot-shot “son” found in a cold alley.
They want to do the right thing and take the little girl to her rightful parents. Soon, they find out that the girl has some bruises as a result of domestic violence. Without knowledge of the legal implications, they bring her home, changed her look, and treat her as their own “daughter.”
“Shoplifters” reaches universality by presenting a blue-collar family who can’t achieve true economic goals with hard work in their part-time jobs. Consequently, they go out and ravish goods they can't afford. Remember, “two wrongs don’t make a right.” The controversy centers in the country's morality and the image they are presenting to the entire world as a developed nation, while some of its people still live in deficit.
The well-structured script details every character's background to perfection with a convincing resolution. The pace of the film progresses the story flawlessly in a small amount of time due to its skillful editing. The sharp cinematography and captivating performances made out of “Shoplifters” a monumental work of art.
Venerable actress Kirin Kiki (“After the Storm,” “Still Walking,” “Kamikaze Girls”) does a terrific job playing the grandmother. Sadly, three months after her return from Cannes 2018, she passed away as a victim of cancer.
Actor Lily Franky (“Scoop!,” “Blank 13,” “Like Father, Like Son”) plays the head of the family Osamu Shibata, who naively teach his children the art of stealing. The mother Nobuyo Shibata, fiercely performed by actress Sakura Andó (“100 Yen Love,” “0.5 Mn”) rounds up the terrific cast.
The Hirokazu Kore-eda latest film scoops the truthfulness of family lessons. Who is the right person for another and who is not. What makes a parent? The one who gives birth, or the one who raises the children accordingly... ironically speaking.
In the Cold World presented in “Shoplifters,” everybody is looking for affection. However, the family's love is questionable by the unconventional actions that break them apart.
The harsh reality presented in the film is accentuated by the characters’ wrongdoings, betrayals, and disjointed affairs. The concepts of loyalty, love and respect are lost in this desolated universe.
Some audiences may find it hard to connect and understand the actions and relationships of such cryptic, opaque and at the same time complex individuals, emotionally speaking.
|Director Hirokazu Kore-eda, film critic José Alberto Hermosillo|
Festival in LA ©2018