A Powerful Family Drama
I have heard a great many good things about the Japanese drama, Shoplifters, directed by Hirokazu Koreeda. The film impressed so much that it won the Palme d'Or award in 2018 and followed it up with several more honors in 2019. The film was a welcome addition in a time when it could be argued that Japanese films were not exactly hitting the same chords as they were in previous years, and its presence created the look of an intriguing film with a very impressive cast of actors and actresses. The title certainly leads to the particular assumption that the film would revolve around individuals shoplifting to sustain themselves in tough economic times, and the opening scene seemed to reinforce this assumption as a young boy enters a grocery store with a blue backpack and an older man by his side, who we can assume is his father. The two survey the area like predators scoping out the savannah, and after a ceremonial fist bump, they spring into action.
The two exercise a series of what appear to be tried and tested techniques to secure their loot, from using decoy baskets to evade suspicion, to the father screening the boy to keep him out of the line of sight of any members of staff. Curiously, the boy himself has a small ritual that he performs before swiping an item, putting his hands together, twirling his two index fingers, and gently touching his fist to his mouth, thus putting himself into the correct state of mind to commit his crime, like a switch that is turned on, imbuing him with good fortune or brief periods of fearlessness. After a good day of stealing, the two head home in high spirits, but the good-natured father stops when he spots a very young girl who seems to be neglected at home. Not finding in his heart to just leave her, the man takes her along to their home, where audiences are introduced to the other members of the family.
Inside a worn down and cluttered small residence, we meet an old grandmother and two women who could easily be sisters or sisters in law, indeed, one of the points of fascination in the film is how the characters are connected. For while there seem to be the typical kind of family dynamics at work, there remains a mystery as to the biological link between the primary characters, if one exists at all. The inhabitants feel that the presence of the little girl will only bring complications to an already challenging life, but when attempting to return her home, the father figure and the young boy find a home with abusive parents who never wanted a child in the first place. For the sake of the young girl, who goes by the name of Juri, the family decides to take her in as one of their own.
Interestingly enough, each family member is not without a source of income, but rather seem to each excel at stealing a little extra for their collective needs. Osamu, the father figure, works in construction, although he never minds the odd injury to secure worker's compensation. Nobuyo works in a factory ironing clothes, often pinching forgotten items from the pockets of the clients. Grandmother Hatsue earns a pension thanks to her late husband but also takes advantage of the sympathies of younger relatives to earn the odd bonus. Aki, the younger and more attractive member of the group, works at a somewhat seedy establishment, offering clients visual entertainment, chats, and cuddles. Finally, we have the kids, young Shota who passes down his shoplifting skills to Yuri, who eventually has her name changed to Lin to avoid detection from the public. Despite the family's dishonest dealings, there does exist a genuine warmth and affection amongst them, Osamu showing a genuine fondness for the two little ones and a good-spirited nature that is beautifully infectious. Even little Lin creeps into the hearts of all involved, Nobuyo seeming to eventually and happily take to the role of being a mother, while the grandmother offers the typical wisdom of her years and shows a particular soft spot for Aki. But as the film progresses, this simplistic and pretty picture of a family slowly begins to unravel like a sweater whose yarn is slowly pulled until its form is completely lost, the perceived stability of the company gradually revealed to be more akin to a house of cards easily undone by the smallest of winds. Playing house only lasts for so long before a series of unfortunate events begins to tare the group apart. Aside from the local search for Lin, and Nobuyo losing her job, the most fascinating aspect is the very principles upon which Shota operates under when it comes to shoplifting, as taught to him by Osamu. His ability to shoplift is greatly necessitated by the idea that the items within a store do not technically belong to anyone, and that as long as the establishment doesn't go bankrupt; the offense is not all that bad. But this is brought into question when Shota's mentor/"father", decides to steal from a car, an act that goes against the very principle that Shota operated under, the car clearly belonging to someone, and thus off limits for stealing. The final event to bring this principle crashing down is when a local convenience store closes down, the owner of which implored the young man to not set young Lin on the same path that he was placed on.
At its core, Shoplifters has very little to do with shoplifting per se, at least as the primary story or means of survival for the characters is concerned. The actual amount of times that the main characters decide to steal from shops can be counted on one hand. Instead, the film seems to focus more on theft as a whole, in its various forms, and all that it encompasses. For there are greater things of value vulnerable to it than the odd item in a store. The film's patient pace shows that the greater crimes of some of the characters range from the stealing of time and life, life understood in its various forms. But more interestingly, the film challenges our grasp of right and wrong in light of circumstances and intentions. Despite it all, the characters seem to have their hearts in the right places, and when it comes to Lin, theft as a means to give someone a better life than they had before, brings into questions the concepts we oftentimes feel the most confident in regarding our conversations of how we ought to act in society. The film shows well that our actions do not always accurately define us, just as who we naturally are doesn't define us either, it is the film's ability to present these aspects of reflection that make Shoplifters such a powerful offering.
The film isn't the most exciting drama one will come across, nor is it intended to be. The film is a calm and calculated exploration of family dynamics and identities, its skeletons skillfully crafted throughout and its reveals realized gradually as the story moves along. While Lin's story could've been fleshed out regarding its conclusion, the bookends to the other characters were satisfyingly executed, and the individual performances by the stellar cast were one to behold. Shoplifters is a beautiful yet tragic film that brings the feels and teaches that our actions will catch up to us eventually, but that there is always hope to move forward and also bring value to our lives, and the lives of those we hold dear. Wishing all who decide to give this one a watch, happy viewing :).
