This work is Hirokazu Kore-eda's breakthrough work. The common reasoning films are eliminated step by step, and the net is closed. In short, it is doing subtraction. This work is completely subversive. In the first scene of the film, the suspect is shown to the audience, but as the plot progresses, who is the real villain, the suspect's motive for committing the crime becomes more and more obscure, and the truth becomes more and more obscure. getting more complicated. It can be said that compared with traditional suspense detective movies, this work is constantly weaving and casting nets, as if it is a "flashback" to traditional suspense movies.
The reversals in conventional films are linear, and ultimately serve to convey a clear directional result to the audience. What this film establishes is just a possibility, and ultimately tells the audience that there is probably no equal sign between the "result" and the truth. When Masaharu Fukuyama continued to pursue the results, he was likely to be further and further away from the truth. The film keeps trying to push back the results, making everything blurry.
The film's theme is a satire on the loopholes and flaws of the judicial system. The most likely truth of this work is that Yakusho Koji committed a serious crime many years ago, but was sentenced lightly because of loopholes in the judicial system. As absurd as this story of the suspect's death is, there is as much irony.
In the eyes of most viewers, Hirokazu-eda's "The Third Degree" is bland and talkative. But in fact, the conventional suspense movie mode is rigid, showing superficial violence. In contrast, Hirokazu Koeda is a hundred times sharper than their depth.
From the perspective of the author's creative courage, I admire Hirokazu Koreeda's enterprising spirit. Most viewers have labelled him a family ethics film, and this time he dared to step out of his comfort zone and explore a whole new territory. Another director is mentioned here - Yoji Yamada. Both directors are highly expected by the public and bear the name of the successor of Yasujiro Ozu. And Yamada Yoji has basically stayed in the theme of family all his life, but Hirokazu Koreeda's courage and enterprising spirit to break through himself is admirable.
This film can be seen as a practice work by Hirokazu Koreeda outside his creative comfort zone, not the director's best work. However, while retaining the sharpness and cruelty of "Nobody Knows", this film conveys this sharpness in a superficially gentle way.
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