Japanese director Mirokatzu Koreeda’s Shoplifters raises questions about family and love, about traditional moral norms, and above all about the standards of society, writes Alan Charlton. (Magnolia Pictures)
It is a reality that there are many great films – films which not only brilliantly employ cinematic techniques, but also raise important, often disturbing, questions. They are often foreign language films, commonly dubbed “art films,” tending to appeal to limited audiences and therefore getting limited release. One such film is the Oscar-nominated Shoplifters.
Directed by famed Japanese director Mirokatzu Koreeda, Shoplifters tells the story of a small group of people who at first might seem to be a traditional family – grandmother, son, daughter, grandchild. However, it becomes apparent that they are far from traditional. Father and son in the opening scenes are shown shoplifting for daily necessities, such as food and even shampoo; it is clear the “family” relies on such activity to maintain their bare existence in the Tokyo hovel they call home.
On their way home from their shoplifting expedition, adult and child take pity on a little girl huddled in an alley in the cold. Realizing the child has been subjected to abuse, the “family” decides to keep her, justifying the decision by arguing that it cannot be called kidnapping as they are demanding no ransom. Given a new name, the child soon adapts to her new family and enjoys the love they shower on her.
As the story unfolds, it is apparent these oddly associated people are indeed living outside the law in many ways, but above all are united in love and affection, in caring and concern. Slowly one becomes aware of all this; it is only in the closing climactic section of the film that the reality that underlies their union is brutally revealed.
All of this is conveyed beautifully, tactfully, gently and movingly. Relying on small revelations and subtle interplay, Koreeda makes the audience aware of the care that the characters display in their daily interactions, rarely moving outside of the confines of their squalid home to do so. It is a carefully structured revelation of love. As it reaches its conclusion, the film raises questions about family and love, about traditional moral norms, and above all about the standards of society.
It is only fair to point out that The Shoplifters moves slowly through its narrative and is therefore unlikely to appeal to those who are fans of Marvel comic book movies. Moreover, because of the unusual relationship of the characters which is only gradually revealed, it is rather confusing. Some may find the sexual content, even though only slightly explicit, disturbing. Some may object to the fact that most viewers have to rely on subtitles to understand the little dialogue involved. Yet, most importantly, the film is brilliant and touching, challenging and provocative. It is the sort of film that stays with one long after it reaches its provocative conclusion. Shoplifters is indeed a cinematic treat.
Shoplifters lost out to the superb Roma in the Oscars in the Foreign Film category, though in many ways it is a superior cinematic experience, brilliant as Roma is – and equally thoughtful. Having received almost completely unanimous critical approval, one wonders why a film such as Green Book would be voted as Best Picture of 2018, although clearly the Academy is biased in favour of the big studio producers and cinemas have their eyes on the box office.
Granted, Green Book is accessible and entertaining, but it breaks no new ground and relies on tried and familiar views of the cures for racism. Cinematically it is no match for either Roma or Shoplifters.
Those who really care about film will be amply rewarded if they can view either, though one may have to subscribe to an on-line source to view them. It really repays the effort to track them down.