Tokyo, Japan, has carried the dreams of Asians for 20 years. It used to be a city of dreams, but after many years of bubble economy and declining birthrate, the dream of Tokyo has become like water, making it impossible for many people to take root.
There are more and more bubbles in the family, and the ups and downs of people and things in it flow to the story of the "thief family", so that people who are ups and downs have the evidence of love.
This is not a story about whether there is a happy ending or not. It is nothing. Who's life is not in ruins? It is Hirokazu Kore-eda's movies that are buoyant, gentle like a river, and can catch all marginalized people.
The encounter between the two children in the film is the cogwheel that drives the story. At first, a boy like the thief's father and his son is robbing the supermarket, and you can't help but worry about the boy.
In the film, the cicadas are loud, and the details of the two's clothes are full of sweat and dryness. It is a hard life that can't be screwed up. We, who are blowing the air conditioner in the cinema or at home, can't seem to peck at it, and start to feel doubts again.
Afterwards, a little girl appeared in this family with scars all over her body. This family was obviously not related by blood. It was a combination of annuity, burglary, and odd jobs. At first, they didn't want to take her in, and they couldn't bear any risks without reporting her hukou.
But when they were taking the girl home, they heard her parents' conversation, and it was very clear in the dark alley that the child was obviously abused, and the mother didn't want to get the child back. The thief man and woman hesitated. But I don't want this girl to be abused again.
We are so aware of what has changed in this era. Just by looking at the news, we can see how many men and women have unexpectedly given birth to children. The existence of children seems to be a drag on their youth, just like the character played by Ando Sakura finally interrogates her social welfare worker: whether they have given birth or not. Does a child mean being a mother?
This question is lost in the wind just like lyrics, because we see cases of family power being lost one after another. When the social atmosphere is turning like a turbo motor, the meaning of home is being overturned and it is difficult to regain its grip.
But the family sees the truth in this group of people who are not related by blood. It is very ironic and very gentle. It was originally just a group of people who can't take care of themselves. They must help each other to survive. From the perspective of the old times, this family is terrible. , but from the perspective of modern reality that has fallen, this family has actually found love. Under the conditions that do not meet the so-called love of modern people, love naturally happened to this group of marginalized people.
The family of modern people is very much like an economic unit. Parents use their financial resources to build iron walls to ensure the safety and education rights of their children. In the future, they will follow their parents' position in the economy. But Mr. Thief and their family are at most a dilapidated wooden house, a group of people without hukou status, living in the old lady's house, relying on her annuity to live, it is precarious, but they seem to be able to love each other forever.
The adults in this family have a kind of sourness, people who are haunted by poor ghosts, but this story is moving because of this, because they are the most selfish group of people, you don't care what they are today. Arriving at this field, whether it is the female worker who may not be hired by Ando Sakura at any time, the erotic uniform industry that the girl is engaged in, or the old lady who regularly goes to a family to emotionally blackmail a certain family, and then counts 30,000 yen, the person who is obviously like a father teaches him. With the children's stealing skills, it was Hirokazu Kore-eda's camera that did not avoid their contemptible side, which made it all so natural. Every day, he tried his best to live, and the only energy left was to sit in that dilapidated room to eat.
So how precious the dining table seemed, it was the only place in a dream where this group of people could maintain their dignity and smile after being trampled on.
This group of people shared a dream and ate together like a family. The old lady wiped the little girl's wound with saliva, laughed at each other, and ate the limit of today's food without food. It's such a low-level luxury. There must be only today's table. Why do they eat differently from what we eat?
How long have we been without food in the face of a table full of dishes and a table full of people?
We seem to have a lot, so much that we forget our loss. Every time they steal what they eat, when everyone should cry, they get together to make each other laugh. Let you experience the moment when love happens, it turns out to be like this.
For them, the future is a threat, and every day they can get along with each other is like a stolen beauty. Whether it's the old lady giving the girl a mochi, the little boy finally recognizing the little girl as his sister, the powerless sex after eating cold noodles, the fake dad quickly putting on his pants when the child comes back, and drying the child's hair, love is so common So extravagant.
We often mention the gap between the rich and the poor and the huge gap between classes, but we have rarely seen such a lyrical narrative.
It is such a desperate group of people, a group of people who will be cut off in the future. They are old and frail, their skills have not kept up with society, they are abused by their own family members, they are abandoned, and a group of people who have been thrown away by class. They look at their old and middle-aged people every day. Just earning enough to survive this week is exhausting. As an audience, you are also counting down the days for them, because they are desperate for "happiness on the table" and refuse to let it go.
The unwillingness to let you know how much effort the outside world has used to make all families seem normal and correct, and the family has become a unit that uses the future to kidnap. This pulling and expectation alone is enough to make the entire human race look The family view is fragmented.
This film is not to excuse theft or any kind of education. It is to let us see what a real home is. At a time when external values have been rewritten and people are devalued, why is home a driftwood?
Because it alone has the power to stand outside the class.
Individuals will be crushed by class, but home is to prove love, the only remaining existence, the future will definitely be an era with a wider class gap, what people can grasp is not necessarily a blood family with you, but in you. When you lose the value of data, in his eyes, you have value that does not need to be evaluated.
Family is not for social service, not for personal output value. Family exists because it wants people to experience love. This time, it was Hirokazu Koreeda who made a huge gap between the rich and the poor in "The Third Killing", and the poor even had the right to speak. After losing all of them, find out the class disease again and write a love letter to the "family": There will be a lot of value rewritten by class in the future, but please don't let it rewrite love.
O this world! I don't have the money to fight with you, but I still have a pen to use as a knife, thinking that the darkness can be drawn one after another by me.
Let there be a faint light that can dazzle my long-lost tears.
Let's respect this cruel and beautiful world together!
It has been ruined by us, but we still look at it obliquely, recognize its beauty at a glance, and hold it full, even if it is about to be lost.
That's the raison d'être of movies, that's Hirokazu-eda's raison d'etre, honoring all the beauty we may have lost, and the innocence we've been photographed.
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