Shoplifters

Koreeda further develops the theme of alternative family models that do not depend on blood relations, but rather on what is shared by those involved (he again works a lot with taste memory here) and whether they feel comfortable and safe together. At the same time, the film shows, but by no means excuses, the dubious foundations of some interpersonal ties. The members of the “family” are united not only by love, but also by financial dependency or a dark secret that is gradually revealed through well-thought-out dosing of information (there is thus a pseudo-detective storyline that keeps us in suspense until the end). Because the head says something different than the heart, there is no simple answer to the question of who should ideally stay with whom at the end of the film. Replacing exposition with the gradual revealing of the protagonists’ past and strengthening of the ties that unite them contributes to the variability of the relationships and forces us to constantly reassess our opinions of the individual characters, among whom Koreeda “democratically” divides attention. At the same time, we get an uncompromising cross-sectional sociological view of modern Japanese society, from teenagers who either prefer to go abroad or to receive money for “swinging their breasts” (and offering company to emotionally deprived young men), through the working class that has a form of certainty, to seniors killing time with gambling machines. At its core, Shoplifters is a rather simple drama that is dark but not completely hopeless, while also being complex in many respects. Like all of Koreeda's films, it is characterised by a slowly paced narrative (divided into several blocks divided by fade-outs), a jagged mise-en-scène and economical yet precise camerawork that involves no unnecessary movements and adapts its point of view to the individual characters according to the needs of the narrative. Though Shoplifters does not in any way manipulate you emotionally, it can, without applying any pressure, bring you to a point where all it takes is for one character to utter a single word and you will find yourself in tears. This is further proof of Koreeda’s unpretentious mastery of his craft. Though it is perhaps formally less inspiring than The Third Murder, more accessible to viewers than Nobody Knows and not as fragile as Still Walking, it is still one of the best-directed films I’ve seen this year. Twice so far, but I will definitely come back to it. 90% (21.09.2018)

In gewisser Hinsicht widmet sich Koreeda abermals dem dunkleren, sozial gesehen realistischen Ton seiner älteren Filme wieder, mischt diesen jedoch meisterhaft mit der wärmenden Melancholie von Unsere kleine Schwester und After the Storm. Shoplifters – Familienbande stellt eine brillante Verbindung von Like Father, Like Son und Nobody Knows - Die Kofferkinder dar. Ein Film darüber, dass die Liebe zwischen einem Elternteil und einem Kind nicht vorbestimmt ist und die Familie, wie nahezu jedes soziale Gefüge, Bestandteil eines Gesellschaftsvertrages ist (oder einer radikalen Verletzung hiervon). Präzise konstruiert, emotional gemäßigt, vielschichtig und gewissermaßen sehr bedrückend und voller Hoffnung zugleich. Koreeda zeigt uns nämlich, dass der Zerfall traditioneller Familienmodelle nicht das Ende bedeuten muss. In einer Welt, die sich vollends anderen Werten zuneigt, kann die Beziehung zwischen Erwachsenen und Kindern zu etwas ganz anderem umgewandelt werden. Shoplifters – Familienbande ist vor allem ein Fest der Empathie sowie der bedingungslosen Liebe, unabhängig von genetischen Bindungen. Ein Meister an der Spitze. (17.05.2018)

Not admitted free sequel Like father, like son. And no matter how much Koreeda deals with the same topic, it is viewed from a completely different, no less interesting and unusual, perspective. As we frequently see in his movies, despite the theme that clearly encourages it, it is simply without any pathos or emotional blackmail. But not the emotional impact. In contemporary world movie industry, it is difficult to find “more humanitarian" films than what Koreeda shoots on regular basis; all his characters are in their imperfection perfect and alive like few others. He loves them all, he does not condemn any of them. And the viewer does the same. (04.10.2018)

We perceive Japan as a wealthy economy that is an unpleasant competitor for Western companies. However, every country, even the richest one, produces unsuccessful outsiders who move in the shadow of carefully built elegant façades. Social dramas, such as Kore-eda's film, come to us from Japan like saffron, so just to explain: a thief has a different meaning and position in Japanese society than it does in ours. Thieves are the most despised type of people who are at the lowest level of the social hierarchy. A couple of years ago, there was a report from Japan about two old members of the Yakuza who were caught stealing in a store. It was presented as a sign of the incredible decline of this branch of organized crime. The Yakuza is involved in traditional virtuous forms of criminality such as extortion, prostitution, corruption, and gambling. The director approaches his antiheroes impartially, sensitively mapping their motivations and relationships. Shoplifters represents a rare case of a well-made film that brings an original approach and perspective to a social phenomenon and segment of society. In terms of form, there is nothing essential to criticize about this film. It is a festival film, as it should be, or as I imagine it. Overall impression: 85%. (12.03.2021)

A beautiful and actually very touching film, but somehow in a completely different way than is usual in the Czech Republic. A sincerely and without unnecessary pathos told story of a group of people living on the fringe of society, who, although not related by blood, form a family in a much better sense than many blood relatives. The civilian and completely natural performances of the actors wonderfully add to the realness and power of this film. (85%) (03.11.2020)