The screen and the cinema form a clearly demarcated world in the real space. One is the viewing space swallowed by darkness, and the other is the colorful Japanese summer. On the screen, there were laughter from the seaside, cold noodles on the ice, and frolicking drinking marbles in sparkling water, while the theater was full of goosebumps audiences, occasionally sobbing, and uncontrollable depressive sighs.
After watching the movie, I have been hesitating about what I want to say and what I can say. This movie does not seem to have too many taboos, but it makes people feel a little confused. It's not like those so-called "cool" movies. It's good to put aside the simple plot and continue to surprise and praise. It is also not like those critical or reflective works, just talk about society and life.
It is Hirokazu Kee’s lens that has always been gentle and restrained. There are not so many heartbreaks, and there are no such carnival accidents. He uses summer to depict the coldness of people’s hearts, and the warmth of you and me, which is freely expressed in winter, unknowingly. , Bring each of you and me in the dark closer. In this gorgeous summer story, there is no black and white, and no cold and warm opposition, but what is left is not very embarrassing, and everyone's heart-felt words that they don't want to say.
This time, the story started with a pair of "father and son" stealing in the supermarket. It was Hirohe Kee who followed this "The Thief Family" with his lens, watching the "father and son" return full of loads, and picked up the little girl who was about to freeze halfway through. She was wounded all over, and if she didn't save her, she might never see the sun tomorrow. Then the three of them returned to the sojourn's cabin together, a family of five made up of parents, sons, sisters and grandmothers in a very difficult life. The daily expenses of the whole family, except for the "grandma" pension, all rely on stealing.
Steal, let them live in this world.
The life narrative of the "family" is relaxed and warm: they sit together in the living room, on a small side of the floor, eating a vegan soup pot with relish; in the yard at home, following the sound, looking for invisible fireworks; together Going to the beach and having fun together, rich or poor, in that comfortable laughter, it seems that it is no longer important... The details of life are slowly being laid, and the bond between people is getting stronger and stronger. "A patchwork of six Family of the mouth, no formal job, no food, no mansion, no identity, no fireworks, no tombstone, but love."
The director, Hirokazu Ee, explained: "My living environment when I was a child was like the Japanese cartoon "Miss Conch", with grandparents, parents, and children, so three generations lived together. After thirty or forty years, this style It has changed again. Now it is rare for three generations to live together." So, he constructed such a "fake" three-generation family.
In the "fake" three generations in the same house, the seemingly neat family members have no blood relationship at all. They are doing a scene for the world, and over time, they have also made it into their hearts. But at first, they themselves did not know this friendship. In this "mutually beneficial" "home", everyone was calmly calculating their lives. Adopting an abandoned baby may not be a show of kindness, but he can't have children, so he picks one back. Letting an old man in the family exist is not because of lack of maternal love, but because she is coveting her pension to survive. The grandmother also knows very well in her heart, but she doesn't have to die alone, she is also happy to do so.
Everyone takes their own purpose, plays a good role in the family, "preserves" for reality, and pulls back and forth between rationality and sensibility. They have formed a set of survival rules of their own, and they can live by following the rules. Once there is a deviation, they may lose everything. For example, the son’s “surrender” with a compassionate heart is like a fuse, pushing this marginalized family to the brink of dispersal.
As Hirokazu Ke said in his book "Things I Think When Making Movies": "Movies are not used to judge people, and the director is not a god or a judge. Bad guys may be used to make stories or events easier to understand. , But if you don’t use the role of villain, can you let the audience take this movie as their own problem and bring it back to their daily lives?"
There are many things I want to say, but the family chose not to say it. But the fetters were already entwined with them like vines, and they couldn't let go. Although they are people living at the bottom and doing what the world sees as "dirty" activities, their hearts are much warmer than many blood-related families. They choose to accept the facts and work hard. Their turbulent feelings are overwhelming under the seemingly indifferent face, which is much more real than those of us who greet the cold heart on the surface.
There are several scenes in the film, which are always reminiscent. In one scene, the whole family went to the beach to play, and the grandma, who knew that she was going to the end of her life, quietly watched the children play, and said a silent "thank you". Thank you for being my family, thank you for being with me for a long time, thank you for the bright smile, thank you for being neat... There are many things that I want to thank, and they all fermented into sweetness in her heart.
In another scene, Shota and Shibata separated. The "father and son" had been with him for a long time, but Shota never called Shibata's father. When he got into the car alone and saw Shibata running desperately behind the car, he finally couldn't help calling a silent "Dad".
Perhaps the psychological things we don't want to say are what we really want to say...
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