Story of Shoplifters
He takes her home to feed her when Osamu Shibata discovers Yuri, 5, on the streets, cold and hungry on a winter night — intending to drop her back immediately afterward to her family. But she quickly becomes an essential component of the Shibata family and their daily spares of shoplifting.
Review of Shoplifters
In’Shoplifters’,” Kore-eda paints the heartwarming image of a household living in poverty, and resisting to make ends meet and yet tightly knit together and empathetic. They reside in a cramped house, jostling for space and therefore are observed a meeting for a family, slurping noodle soup along with croquettes- bought by a street food stall. This tiny living area belongs to Grandma Hatsue (Kirin Kiki), and it is also her retirement that marginally helps the family remain afloat, and everyone’s the strange job.
Osamu’s spouse Nobuyo (Sakura Ando) is used at a laundry, Aki (Mayu Matsuoka) operates in a peep show parlor, and he’s a daily wage building worker, indisposed because of a crash. But finally, it is shoplifting of standard items, markets, and food that keeps them moving. Osamu generates the diversion while Shota steals and makes a rush for this. He motives to Shota that matters in a store do not belong to anybody yet, so it is all right to take them. It is evident the Shibata’s are casual about shoplifting for a means of life when Shota is told by Nobuyo over dinner to ensure he picks up shampoo for her next moment.
And on one night, small Yuri (Miyu Sasaki) has been brought home by Osamu. The family welcomes her warmly for a hot dinner, particularly Grandma Hatsue that fusses over her and to her horror finds a couple of scars on Yuri’s entire body. After Osamu and Nobuyo take Yuri straight back to the road, she’s been picked up to drop her at her doorstep, voices of a few fighting bitterly emanate in the flat, confirming the psychological and physical abuse she’s confronted from her parents.
Noboyu decides to bring Yuri back home together with her justifying to Osamu and himself which they haven’t kidnaped the tiny woman, because they have not asked for a ransom.
Since Yuri starts to combine Osamu and Shota in their shoplifting jaunts, Shota is initially resentful of her soon there’s an unspoken bond which develops between them both. Much like a sister and brother. When walking home one day, they see some children going to college, he informs her helpfully, “School is for kids who do not learn anything in your home.”
As Nobuyo and Yuri’s bond grow deeper like a mom and child, on a picture-perfect family trip to the shore, she reiterates to Hatsue, “Sometimes it is far better to select your family.”
Nothing is as it appears from the Shibata household as Kore-EDA’s nuanced and intricate narrative starts to unravel itself. As the movie draws to a climax, astonishing secrets concealed within the family fall out one after another. And things begin to piece together or instead collapse. Throughout his poignant, contemplative and powerful screenplay, Kore-eda cuts open social hypocrisy and queries family structures as broadly accepted.
The visual story of Shoplifters is equally strong — intense, tight close-ups, constricted spaces, a recurring theme of meals, the altering seasons — out of frosty cold nights into warm summertime, the household’s coping mechanisms. And as the movie investigates moral ambiguity, each character of the dysfunctional family touches a chord.
Nonetheless, it’s the two kids – Jyo Kairi and Miyu Sasaki – that are outstanding and depart the most effect, refusing to leave your head even long after you have seen the movie.
Make time to get it.