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"Shoplifters": perhaps the most humane film of the year

The elegant and modest drama of Hirokazu Koreeda, who won the main prize of the Cannes Film Festival this year.

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evaluation

The Shibat family lives in poverty, but doesn’t complain about life at all: there is always peace and comfort at their table, and even in minor failures they see glimpses of great happiness. Father earns money at a construction site, mother works dry-cleaning, the eldest daughter stands for a peep show window, a grandmother, the main earner of the family, receives money from the children of her late husband. And when there is not enough finance, you can always steal food from the nearest supermarket: Sibat’s dexterity in shop-stealing does not hold.

One day, returning home after a successful "cause", father and son notice a little girl freezing in the street. There are bruises on her body, in the window of her apartment - abuse of parents, who are obviously not very happy about the child. Shibata take the girl to her, give her a new name and take in the family. But when they begin to search for the child, the whole family faces the threat: from the position of the authorities, what they have done is abduction, which threatens with serious punishment. Moreover, in the past, Shibat has dark details, and in the eyes of the society around them they have long been unclean.

It is understandable why so many critics rebelled when the Store Can Thieves film won the main prize in Cannes. Against the background of loud outrageous pictures - continuous “manifestos of generation” and new cinema languages ​​- a small, quiet and modest work of the Japanese Hirokazu Koredu looks disarmingly inconspicuous. While others look down on the viewer, praising their position as an author more than life itself, Koreeda tells the story from the height of the eyes of a simple person who does not cease to ask questions, but cannot, and does not really want to find an answer to them.

He again makes the same movie, which makes, with some reservations, for the second decade. Again about the family - both literally and the named one - again about the lower classes of society and the small joys of life. Through the description of a closed society, through tiny details and talk of "nothing", he builds a convincing portrait of a group of people, either relatives to each other, or simply living under the same roof. For Koreeda, however, there is no difference: one of the main themes of Shoplifters is that people may be given a choice and not to limit the generally accepted notions of “moms”, “dads” and “grandmothers” by blood ties.

Like the characters who spend most of their time in conversations, the film itself conducts a dialogue - with the audience and, above all, with its creator. Koraeda does not seek to bring this conversation to the final point, to somehow summarize what is happening - in his world there is no place for condemnation or moralism. Even the final plot twist, in other hands able to turn everything upside down and become a marker convenient for the author of morality, here is perceived as another simple event in a series of others the same. Koreeda never for a moment doubts that his characters are those lovely cute people they appeared in the first half of the film. Regardless of what hides their past and how their actions can be interpreted by others.

Koreeda is presented as an archetypal oriental old man, steadily leading his unhurried tale. And he says everything about the same thing that he talked about a dozen years ago, and still with the same unchanging intonation, but constantly finding new facets in the old as the world problems. The story of his maximum detached, he is not trying to arouse emotions in a listener with cheap tricks - this is of little interest to him. Whoever wants, he will find both beauty and sensuality in the life itself that flows on the screen without prompting.

From November 8 to the cinema.

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I do not want to see this anymore