Hirokazu Kore-eda
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Connections, in both directions
But I’d be surprised if Bong Joon ho didn’t see 2018’s Japanese Cannes Film Festival entry “Shoplifters,” and wasn’t inspired to whip up a funnier and more ambitious take on an underworld of low-rent grifters struggling to survive in the Golden Age of Income Inequality.
Early scenes of Parasite echo the beginning of Hirokazu Kore-eda’s Shoplifters (which was my #1 film for 2018) by focusing on a family eking out an existence just above poverty-level by resorting to scams and dead-end odd-jobs (like folding hundreds of pizza delivery boxes).
But if much of the first part of the movie recalls the sweetness of the 2018 Japanese film “Shoplifters,” which also focused on a poor family doing anything to get by, “Parasite” — which taps into the fears and frustrations of class friction — ultimately goes for something darker and more twisted.
But while Hirokazu Kore-eda approached Shoplifters with an observational and intimate look at family and unconditional love, Bong Joon-ho aggressively careens towards us with an intoxicating twist of ideas and metaphors on social and economic inequality.
There is nothing much here that your reviewer can discern to frighten the horses, much like the Japanese director Hirokazu Koreeda's Shoplifters , which won the Palme d'Or in 2018.
If last year’s Shoplifters, from Hirokazu Kore-eda, featured a Japanese family in similarly dire economic straits and gave them a hug, Parasite does the opposite.
Nobody Knows instantly takes its place at the top of the heap of “children in peril” movies, right alongside The Night of the Hunter , Lord of the Flies , and The 400 Blows .
Life Is a Long Quiet River (1988)
Directed by Étienne Chatiliez
influenced Like Father, Like Son (2013)
Plot
Kore-eda has chosen a subject with no lack of precedents, notably in Etienne Chatillez’s “Life Is a Long, Quiet River” (1988).
Like Hirokazu Koreeda's After Life, Tim Burton's Beetlejuice, Shinya Tsukamoto's Vital and Christoffer Boe's Allegro , Wristcutters: A Love Story depicts limbo as a place of dreary banality occasionally touched by the transcendent - and despite working with a very low budget, newbie director Goran Dukic manages to find romance, pathos and wildly oddball humour in the drabbest of settings and bleakest of materials.
Lyrical, lovely, the picture is as stunning a document of youth as Isao Takahata's anime war idyll Grave of the Fireflies and successful in many of the same ways.
Yet none of this is played for sentiment, unlike similar scenes in Isao Takahata�s Grave of the Fireflies (1988) and Hiroshi Shimizu�s Children of the Beehive (1948).
Αν όμως ρίξουμε μια ματιά στους πρόσφατους Χρυσούς Φοίνικες («Εγώ, ο Ντάνιελ Μπλέικ», «Κλέφτες Καταστημάτων», και το συγγενικό «Τετράγωνο»), η θεματική των ανισοτήτων είναι ο κοινός παρονομαστής.
Burning (2018)
Directed by Lee Chang-dong
influenced by Our Little Sister (2015), Nobody Knows (2004)
Themes
Kore-eda is one of history’s best filmmakers at analyzing what the word “family” even means—it’s a theme of this, “Like Father, Like Son,” “Our Little Sister,” “After the Storm,” and more—and I’m so happy that the world seems to be embracing his Master status.
This one feels like a cousin of what I consider his best film, the heartbreaking “Nobody Knows,” another film that examined people often dismissed or outright ignored by society.
When the Yakuza Bangun has peacefully coexisted with take out long time hit man Prakoso (Yayan Ruhian, "The Raid's" Mad Dog), Uco's dead set on revenge, but Bangun will not act against boss Goto (Ken'ichi Endô, "Nobody Knows") leaving Uco ripe for the picking by Strangelovian crime boss Bejo (Alex Abbad, "Merantau") with their shared hatred of the Japanese.
I Wish (Magnolia Pictures): Hirokazu Kore-eda (Nobody Knows) has crafted a lovely, authentic exploration of family bonds tested by separation.
Yudai and Yukari Saiki (Rirî Furankî and Yôko Maki, "The Grudge") are, like Midori's mother, not urban sophisticates.
Not unlike Hirokazu Kore-eda’s recent and beloved “Shoplifters,” Tyler Nilson and Mike Schwartz’s deeply-moving “The Peanut Butter Falcon” tackles the idea of finding beautiful familial relationships in unexpected places to fill that void in the heart.