A lot to remove from "Shoplifters" – Israel News

adminNovember 28, 2018

& # 39; Shoplifters & # 39 ;, who won Palme d'Or in Cannes, investigates how life is

& # 39; Shoplifters & # 39 ;, who won Palme d'Or in Cannes, investigates how life is like people who have been thrown away by society.
(photo credit: Courtesy)


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At first glance, Hirokazu Koreeda Shoplifters, who won Palme d'Or in Cannes, seems like the story of a hard-working Tokyo family who struggles to pay their bills, which takes a girl who is victim of her violent parents.

But as history unravels, it turns out to be darker and more complicated. To avoid stereotypes, Koreeda, whose movies often deal with the meaning of the family, investigate how life is like people who have been thrown away by society. The truth in the heart of the family is not revealed at once, but is a seamless part of history, which plays almost like a Japanese contemporary art at the Italian neo-realistic cinema in the 1940s.

The film opens with Osamu Shibata (Lily Franky), the father of the clan, and takes her handsome, evil son, Shota (Jyo Kairi), at a strategic exhibition expedition. They buy a little and steal a lot, but everything they take is food. On their way home, they get a glimpse of Yuri, alone and freezing on her balcony and bringing her home. It's not much of a home, and it's certainly not the sparkling, prosperous Tokyo we're used to seeing in the movies. Three generations are pushed into a little more than a single room. Osamu is employed in construction, but the job is not stable and when he gets injured at work, the employer finds a way to avoid paying him compensation. Osamu's wife, Nobuyo (Sakura Ando), works in an industrial laundry, pocketing some of the value she finds in the clothes she's ironing, a way to make up for her shift to continue to be cut. Her half sister, Aki (Mayu Matsuoka) is college age, but she works on a kind of peep show, dressed in a schoolgirl uniform that she gradually strips off. The family matriarch, Hatsue (Kirin Kiki), helps to support all of them with their bad retirement and by begaving money from their last husband's second family. Shota does not go to school, but helps out, mostly by stealing.

Taking a child, and one they may be accused of kidnapping, seems stupid, but when they see the girls' bruises, they realize that their little cool home can be a sanctuary for her.

Nothing really is what it works in this complex movie, and just when you think you've found things, Koreeda throws another curve ball on the audience. The film is a modernized criticism of modern Japan, where entire families, even working families, fall between the cracks. We see events unfolding from the point of view of the characters and it seems quite understandable that they would steal and risk being accused of kidnapping. Koreeda himself humanises the shopkeeper from whom they steal most often, emphasizing the tragedy of a story without clear villains, but much transgressive behavior.

The cast is even brilliant, especially Ando, ​​like a woman whose material impulses are strange and Lily Franky as her devoted and cheerful amoral man. Franky had a key role in Koreadas film in 2013 As father, son, the fact-based story of two families revealing his sons changed to birth. Kirin Kiki, a great actress who depicts the grandmother, has also worked with the director earlier, on movies like our little sister and after the storm, and also starred with Sweet Bean. The children's actors are incredibly natural.

For Koreeda, one of the best contemporaneous Japanese directors, this film is a thematic return to 2004 No Knows, about a 12 year old boy who takes responsibility for his younger sibling after her mother has left them. In spite of the film's virtues, however, I did not realize as much as I did on that movie or to any of his other films. It is a bit didactic quality for the social criticism here. Koreeda has a great talent for creating a world and drawing the audience into it, but here I was often aware of the lessons the film was trying to learn about the shortcomings of capitalism.

Nevertheless, Shoplifters are well worth watching for their turbulent history and phenomenal plays.

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