Whether it's the previous Cannes or the Shanghai Film Festival, the thief family has been well received inside and out. This culmination of the work is still a prose style that came late, but this time it incorporates social issues. That is to say, the contradictions of the overly diverse social environment make the emotional control of the whole film out of balance.
The biggest feature of Hirokazu Kore-eda's family films is the collective healing after trauma. As the common support and growth of family members, no one is perfect in the face of cruel life, but instead it shows a concept of continuous vitality and embracing life. In the beginning of the thief family, this is indeed reflected through various obvious labeling scenes. The familiar family sits around for dinner, rides the tram to the beach to play, and listens to fireworks. But because of the settings of the protagonists, eating and listening to fireworks are all means of showing embarrassment as an abandoned person. Only when the five people at the seaside stood firmly against the wind and waves and Oba Jiang resisted the coming of death in their hearts, did they feel their sincere desire to become a family. Their bond is not like the intimacy of "family is always family" like blood relatives. It is the kind of kinship that needs to be nurtured by the instinct to maintain a group for warmth, food and clothing. Assuming the movie goes on like this, it can be regarded as Hirokazu Kore-eda's normal play, the first masterpiece of healing from non-native families. .
Yep, that won't win the prize either. This typical and atypical family film had to be interrogated by the police station at the end, and the previously vague and implicit family relationship was almost wiped out. Although I like Sakura Ando's performance this time, keeping such a young girl in such a family is to a certain extent to satisfy my wish to be a mother. There is also Zhi Zhi who asked Xiang Tai to steal and not read, with the ugly appearance of the four of them preparing to escape, the scene of a little betrayal compared to the previous scene of the father-son parking lot, which is embarrassing.
The "family" story that could have been "happy" was shattered by the social reality that had to be forced into it. This is after the suspect's rhythm was out of control three times last year, and another one who missed the balance of the implicit plot is Hirokazu-eda. All sweet dreams have a time when they wake up, and they have to smash and ask questions, giving people a sense of loss of emotional misjudgment.
After social forces intervened in the warmth of the family and the balance was completely broken, each of them confessed. I think they really started to prepare to become family members. The son seeks to break through the predicament and does not forget his father. The father actively lives and works and wants to be a good father and mother with a sense of responsibility. Taking the initiative to take responsibility for the choice of accepting the father and being lenient to the son, the sister waits for the "family" to take her home. (The Asian version of the domestic release has a lot less lines. Apart from being weird with Ohba sauce, this character has always been less integrated in the whole family...) Such a good time to break the calm and create trauma, and then make up for the trauma The first aid treatment stopped abruptly. . . . it's over. . . . . . What remains is the social question of "is it better for a child who has been abused to stay in a criminal non-original family, or in a family of origin that will repeat the same mistakes at any time?" ? ? ?
In general, the best thing this time is that everyone's acting didn't fail, especially the little boy and Ando Sakura. Tree Xilin is still the unshakable Ohba sauce, very reassuring. All the scenes of Hirokazu Kore-eda can be seen everywhere, but without the tranquility of a small village and the intricacies of a big society, it is still not suitable for it. Personally, I think this is by no means the best work that Hirokazu Koreeda can win an award for. . . . . absolutely not
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