Japanese literati always have a special preference for nature. From Yasujiro Ozu to Junichi Watanabe to Hirokazu Eeda, they all like to show nature that is so close to people in the pen or under the camera. I have never seen a Chinese director look like this. The wet hair stuck to the forehead, the white T-shirt, the dim light before the rainstorm, the cool breeze blowing in the train going to the beach, and the green field all make people feel a kind of vitality in their hearts. Feel, feel like this is real life.
This embrace of nature appeals to me. Recently, I always have time to watch movies on the plane. It is rare to see movies like this one that I can sit down and watch at home for two hours, especially Japanese movies. It may be Hirokazu Kore-eda's other films, but there are always problems with Japanese films, such as "Like Father Like Son" and "Walking Nonstop", which makes me feel procrastinated sometimes and want to pick up my phone and swipe on Weibo. The rhythm of this film is not fast, but it completely attracted the attention of the audience. In addition to the real display of life in the absurd logic, the performance of the actors also contributed. The first time I was moved was when I saw the grandma played by Shu Xilin silently saying, "Thank you, thank you" when she was alone by the sea, there was a kind of emptiness behind the excitement. Although it was only a few seconds, it was impressive. It was profound; and later, the evidence of the plot showed that this was her farewell to the world, and looking back and thinking about her performance at that time, it was moving. Thinking of the news of the actor's death last year, it is even more embarrassing. This may also be her farewell to the audience on stage.
There is also a dialogue between the mother played by Ando Sakura during the interrogation. Talking about it is almost a monologue. The police officer asked, did he think of abducting the child because he couldn't give birth? what do they call you? What role are you playing? After the question, there was almost only a close-up of her face on the entire screen. She tried to wipe the tears from her eyes with the motion of pulling her hair, but there were always more tears. She wants a home, but she can only build a "home" in this way. Every time she flips her hair, it seems to be in my heart. I haven't seen such a natural tear-jerking performance in a movie for a long time: either it's the sensational "Tangshan Earthquake" that wants to drop eye drops in your eyes, or it's too obscure to express straightforward feelings Many movies, such as "The Thief's Family", which can sincerely express natural feelings, are really becoming more and more rare.
This movie reminds me of a classic movie with a similar theme sixty years ago, The Bicycle Thief. It is also the truth and tears of life at the bottom, touching but not sensational, and has won numerous awards. If there is any difference, it is that the movie is more realistic, it can almost be regarded as a daily story that happens around you, and it is not even popular on Weibo; and "The Thief Family" still took the theme and found a novelty A gimmicky entry point, telling a story of "surprise".
I like the blank space in this movie. Many plots are hidden behind the scenes. For example, the details of grandma watching fireworks can remind people of her prosperous life when she was young, such as whether the little boy was rescued or abducted by the way. His life experience and why he went to work in an izakaya are not explained, but it makes people conjecture and think that conjecture is enough. The film focuses on the parts that surfaced, that is, the dense dialogue, the scars illuminated by the light, the comfort in the fire-as for who they are, criminals or rebellious girls, and what kind of opportunities did they pass? Here, what's the point?
They are family.
View more about Shoplifters reviews
