Intriguing, calm, witty, touching. Hirokazu Kore-eda’s Shoplifters, winner of the 2018 Palme d’Or, is a modern-day Oliver Twist with real depth of feeling and naturalistic charm. Deceptively simple, it asks big questions of its audience, questions about family, love, loneliness, and how to live a good life.
It’s largely free of significant plot points – it begins with a very young girl, abused by her parents, being taken in by a motley crew of a family living on the poverty line, but from there takes an approach to story that is driven by character and situation. Everything is rendered complex – on the one hand, the young girl is taken in by a group of rescuers who care for her; on the other, they are kidnapping her. It would be true to say the aren’t easy answers to be found, but don’t let that fool you into thinking it’s a harsh watch. It isn’t. There’s an impressive lightness of tone, the film refusing to wallow in victimhood, instead focusing on getting on, day to day. And it has a great sense of humour and keen eye for the romantic and emotionally open. It’s truly moving.
Amongst our praise for the film, we find time to discuss the projection and atmosphere at The Electric, a cinema we’re probably a little unkind to at times, and José orates on the relative lack of circulation of films such as these to a cinephile culture that does exist outside London and would gratefully receive more arthouse and foreign cinema.
The podcast can be listened to in the players above or on iTunes.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
I was asked to do this by a friend on facebook, and having done it. It seems silly not to share more widely: So here it goes:
- Tokyo Story (Yasujirô Ozu, Japan, 1953):My first choice, almost always my first choice, and what I measure so much of cinema against is Ozu’s Tokyo Story. I always break up at the end: the kindness, the resignation, the understanding, the wisdom: the mixture of motivations and feelings, so beautifully evoked within a liminal zone where things are not stated but clearly understood; and expressed in a way that makes it feel true and beautiful but also mysterious. Plus I just love looking at Setsuko Hara.
Kids of all ages should enjoy this story of teenagers who fall in love but belong to different warrior clans. It’s like a Romeo and Juliette story but here each member of the family has special warrior skills (superpowers really). The Lord whom they serve decides they are too powerful and sets them in conflict against each other with the aim of wiping them out. The protagonists struggle to reconcile their love for one another with their loyalty to their family and clan; sadly, the latter wins out. A difference between at least some Eastern and Western cultures is the way that this narrative plays out in narrative: in my experience, in movies from the East the protagonists always, ultimately, finally, and in spite of any number of always motivated rebellions, bow down to authority. It is worth mentioning here the superb special effects that can now be created on smaller budgets. Hollywood better wake up or it will soon be playing on an even playing field and start losing. It’s losing now. With Yukie Nakama, Jô Odagiri, Tomoka Kurotani