Eiga Sai 2019
UP Film Institute
This offering from director Hirokazu Kore-eda raked in millions when it opened in Japan, last year. A heartwarming story of a 'family' who shoplift basic necessities like shampoo, food items to tide them over. We soon decipher they are not related by blood but still consider themselves a family. One evening, Osamu (the father) and Shota (young pre-teen son) are heading home after stealing, they spot a young girl of about 5 years old crying on the porch of a house. A chilly night, they take pity on her and bring her home with them where more members are introduced, Nobuyo (the mother), Aki (teenage daughter) and grandmother Hatsue.
Nobuyo works as a presser (irons clothes) in a factory while Osamu is a construction worker. They name the little child Juri and it is established that she lived with abusive parents from the scars on her body. She tends to follow Shota around so he teaches her the tricks of the 'trade'. They all live in Hatsue's house which is tiny and cramped with their things. Hatsue receives a monthly gov't pension while Aki is the granddaughter of Hatsue's husband's second wife. The parents of Aki believe she is studying in Australia even though she ran away from home. They also give Hatsue a certain sum of money because their father was 'stolen' from Hatsue by their mother.
For me, one of the best parts of the movie is when they learn the police is searching for the missing child. They cut her unruly hair, shoplift a swimwear for her and all go to the beach. The scenes depict a warm, humid spell has hit Tokyo so a train trip to the beach is just what they all need. The change in scenery from their drab house in the suburbs of Tokyo to the sea shore is refreshing. A welcome shift from the travails of their daily lives. The most fun they had before the push turns to shove as things pretty much unravel after that beach outing.
If the family dynamic was complicated enough, more issues are put to the forefront after Shota is caught by the police for shoplifting. The pace picks up, as the background of each character is revealed while being interrogated by the authorities. It was bound to happen as crime doesn't really pay, no matter how attach we become to these characters. By the end, things are put into their proper order. Each of them back to where they truly belong even though a tinge of sadness is reflected on their faces.
Kore-eda made us fall in love with his well developed characters, who even though are strangers form a dysfunctional family. We commiserate with them because we know they escaped from a harsher life before they all came together under one roof. Characters who utter "whatever is in a store, doesn't belong to anyone yet" to justify their stealing.
He tackles familial relationships, the social welfare structure in Japan, the corrective justice system, the lives of blue collar workers. Difficult yet relevant issues which can affect any country, but particularly Japan which is known to adhere to strict measures to effectively make it a progressive nation.
Shoplifters is well crafted with beloved characters interacting in a poignantly realistic plot and it truly deserves the Palme D'or award at the 71st annual Cannes Film Festival, last May 2018.
