Shoplifters (Manbiki kazoku)


Going for that five-fingered discount.

(2018) Drama (Magnolia) Lily Franky, Sakura Andō, Kirin Kiki, Mayu Matsuoka, Jyo Kairi, Miyu Sasaki, Sōsuke Ikematsu, Yûki Yamada, Moemi Katayama, Daisuke Kuroda, Kazuaki Shimizu, Izumi Matsuoka, Katsuya Maiguma, Hajime Inoue, Aju Makita, Akira Emoto, Haruna Hori, Momoko Miyauchi, Mami Hashimto, Nobu Morimoto, Mana Mikami. Directed by Hirokazu Koreeda

 

The family unit is the backbone of most human cultures. Woe be unto those who mess with the family; communist regimes in Russia and China tried it without success. But what is it about families that make them so necessary? Can we teach our children morality if we ourselves are less-than-moral? Can we have a loving family in non-traditional groupings?

The Shibata family is what you would call the working poor. Father Osamu (Franky) is a day laborer; mother Nobuyo (Andō) works in an industrial laundry. Auntie Aki (Matsuoka) is a hostess in a peep show, dressing like a school girl and performing sexual acts for lonely men watching behind two-way mirrors. Grandmother Hatsue (Kiki) chips in with her pension check and their son Shota (Kairi) helps out in the family business. What is the family business? Shoplifting.

Osamu and Shota go to local supermarkets and pick up what necessities the family needs via the five-fingered discount. The family can’t afford to put enough food on the table, so they supplement their income as best they can. On the way home from such a trip, Osamu and Shota come upon a little girl named Yuri (Sasaki) hiding under a balcony in a neighboring apartment building. It is an insanely cold night and the girl, already hungry and scared, will certainly not survive the night if left out there. Good-hearted Osamu brings the girl home. Hatsue discovers evidence of abuse on the little girl, but Nobuyo is adamant that the girl be returned to her parents. When they arrive, Osamu and Nobuyo hear a violent fight going on between the parents. Nobuyo at last relents and the girl is brought home, unofficially adopted by the Shibata clan.

It’s not kidnapping, explains Osamu, because they aren’t demanding a ransom. Besides, the little girl has found herself in a loving family that takes care of one another and despite their financial straits, they still manage to enjoy life to the fullest. Shota even deigns to teach the newest Shibata the family trade. However, the idyllic situation can’t last long; things begin to unravel and the secrets at the core of the Shibata family are revealed at last.

The last half hour of the film is a total tonal shift from the first hour and a half, and quite frankly, it was a bit too much for my taste, although I am aware that a lot of critics found that shift to be the best thing about the film. As they say, your mileage may vary.

But this is a very good film, a look at how the working poor survive day t day in Japan, how the bond within a family is maintained even when the grey areas are a bit more widespread than normal. Despite the fact that they steal and scam, the Shibata family to a man (and woman) are good-hearted people who genuinely care for one another. There is almost no judgement going on, which is rare in a family. They accept each other and love each other for who they are. A lot of morally straight families could benefit from instruction from the Shibata family.

Good performances throughout are at the forefront; there are some truly heartbreaking moments and some truly joyous ones as well. Cinematographer Ryûto Kondō makes good use of every shot; there is a lot happening in every frame which means that additional viewings of the film will yield more treasure.

This is very much one of the best films from 2018 and would have gotten a higher rating from me had I liked the ending more. I will say that it is imaginative and will come at you from out of nowhere, which is what I think some folks like about it. I suspect that I will like this movie more the next time I watch it. If so, that’s the mark of a truly great film experience.

REASONS TO SEE: Thought-provoking on the nature of families. Moral dilemma isn’t an easy one to dismiss..
REASONS TO AVOID: The ending is a bit of a letdown.
FAMILY VALUES: There is sexuality and some nudity.
TRIVIAL PURSUIT: Won the Palme d’Or at the 2018 Cannes Film Festival, the first Japanese film to do so since 1997.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, FlixFling, Google Play, Hoopla, Hulu, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/21/20: Rotten Tomatoes: 99% positive reviews, Metacritic: 93/100
COMPARISON SHOPPING: Our Little Sister
FINAL RATING: 7.5/10
NEXT:
Tombstone Rashomon

The Class (Entre les murs)


The Class (Entre les murs)

"I'm not going to tell you again, my name is NOT Mr. Chips!"

(Sony Classics) Francois Begaudeau, Franck Keita, Boubacar Toure, Henriette Kasaruhanda, Eva Paradiso, Laura Baquela, Rachel Regulier, Nassim Amrabt. Directed by Laurent Cantet

Education isn’t what it used to be. Teachers have little control over their students, administrators have little control over their teachers and everybody is pointing fingers at everybody else. How do teachers stand a chance with students, having to compete with iPods, cell phones, video games and the Internet?

Francois Marin (Begaudeau) is a new teacher at a school in the 20th arrondissment of Paris, a multi-ethnic neighborhood. He teaches grammar and literature to what would be the equivalent of high school students. The students are ambivalent at best about the prospects of learning a language they already think they know. What good, they question, is this education going to do them?

A valid point, indeed. Marin is fairly hip as teachers go, treating his students with respect although he is only human; he gets exasperated when they push the limits, as teenagers will do. At times he resorts to the tried and true axiom of “because I said so” when questioned. Still, he’s fairly easy-going and makes a real effort to communicate to his students.

Many of them are the children of immigrants, such as Souleymane (Keita), a troubled young man with a bad temper and Khoumba (Regulier), who believes M. Marin has it in for her. These aren’t always the easiest kids in the world to get to know

Still he does try, and seems to be making a connection when he gets them to read “The Diary of Anne Frank” and then assigns them each an essay to write about themselves. In some of the cases, he gets a glimpse of understanding something much deeper although with most it’s just a skim across petty surface likes and dislikes.

However, when two classroom representatives at a teachers meeting blabs to the class that M. Marin said something unflattering about one of the students, tensions threaten to derail the fragile bond that ha been forged among the members of the class.

Director Laurent takes a bold innovative step in disposing of a script for the actors playing the students and instead gets them to improvise, with three cameras covering the classroom and only Begaudeau getting the outline of the action that is meant to occur. This leads to honest, natural performances with the students essentially playing themselves in a classroom setting and reacting as they would to incidents occurring in their own classrooms.

Begaudeau is himself a teacher and wrote the book on which this is ostensibly based. He co-wrote the “script” along with Cantet and Robin Campillo and is the heart and soul of the movie. He is one of those teachers who genuinely want to see his students thrive but is frustrated by their lack of motivation to care about their own futures. He wants to get through to them, but at the same time he’s only human and not only makes mistakes, but does not treat them all equally.

I did have problems with the subplot of the classroom representatives. I grant you I’m not an expert on the French educational system, but it seems to me that having students attending meetings in which confidential information about their fellow students is being discussed is an unlikely scenario at best. Here in the States, that’s the kind of thing that would lead to lawsuits. While there might be classroom representatives at teacher meetings, I can’t imagine that those teachers wouldn’t be aware that anything discussed at those meetings, particularly if it were something the teachers didn’t want getting out, would be blabbed to their fellow students the next day. I mean, these are TEENAGERS for chrissake – passing on inappropriate information is what they do.

Still, this is a marvelous movie that, while it shares a certain pedigree with classroom dramas like To Sir with Love, The Blackboard Jungle, Dangerous Minds and Freedom Writers, is much more authentic particularly in the way that the students are depicted. We don’t have a Mr. Chips sort here who inspires by reading from Dylan Thomas; instead we have a beleaguered teacher doing the best he can to inspire kids who aren’t looking for inspiration (at least from school). It is also a wake-up call to our global society that the education system needs to be reformed as the needs of the students are changing.

WHY RENT THIS: A realistic look at the challenges facing educators today. Organic, unforced performances mostly by first-time actors or non-actors makes for a natural setting.

WHY RENT SOMETHING ELSE: The whole sub-plot about having two classroom representatives at a meeting in which confidential information about students is being discussed is far-fetched to say the least.

FAMILY VALUES: There’s plenty of rough language and a little bit of sexuality, but otherwise suitable for teens and older.

TRIVIAL PURSUIT: This was the first French film to win the coveted Palme d’Or at the Cannes Film Festival since 1987.

NOTABLE DVD EXTRAS: There is intriguing footage of some of the improvisational sessions that set the tone for filming, as well as the young actors reading essays they’d written about themselves, some of which were incorporated into the final film.

FINAL RATING: 7/10

Winter’s Bone

Note: While I saw this at the Florida Film Festival, it isn’t scheduled for release until June 18th. A full review will be posted then. In the meantime, here is a short mini-review.

Ree Dolly (Jennifer Lawrence) has a tough life in the Missouri Ozarks. Taking care of her two young siblings and her mentally ill mom is taxing enough for a 17-year-old girl but to find out she needs to find her absent meth cooker dad or lose their house (which he used as collateral on his bail bond) with no help from the insular mountain community is almost too much for her to bear. This outstanding performance is matched by veteran character actor John Hawkes turn as her Uncle Teardrop, the wiry man who nobody wants to mess with. This is a moving, harrowing movie that will keep you squirming in your seat. Highly recommended.

FINAL RATING: 10/10

TOMORROW: The Secret of Kells