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  • The Master of Two Worlds
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on: December 26, 2018, 06:28:53 PM
no thread for this?  this year's palme d'or winner?

the first two thirds are so beautiful and brimming with compassion.  then it shits the bed and takes a turn towards the prosaic and manipulative, and ultimately falls flat, especially the more i sit with it. (the ending's a doozy, though.)  it's a shame because of how good most of the film is.  performances are all unbelievable, the best ensemble work this year.  sakura ando reminded me of setsuko hara in this film.  i hope she supernovas into stardom. 

highly recommend giving it a look.  Burning should have won the palme d'or though.


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Reply #1 on: December 28, 2018, 04:25:15 AM
just saw it this afternoon - I missed Kore-eda's last couple of films so it's a surprise to see him so sentimental all of a sudden. Love the warmth and the sense of humor. The film loses a lot of momentum in the third act and in a way introduces new villains/ conflicts the same way comic movies tend to do - just something to move the plot forward and to escalate the drama. I think Kore-eda is obviously a talented enough filmmaker that his characters stay interesting in spite of the weird choices, but I still wish he'd gone another way.
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Reply #2 on: January 17, 2019, 04:32:56 PM
I haven't seen the film yet, but does this change anything for those of you that have?

Kore-eda’s “Shoplifters”: What Was Lost in Translation

Spoiler: ShowHide
“Shoplifters” has much better subtitles–at least until a key scene near the end. In it, Osamu Shibata, the head of a fictive family of societal throwaways says–according to the English subtitles–to Shota, the boy he has lovingly fathered, “From now on, I’m not your father.”

Unfortunately, that’s not what he says in Japanese. As spoken by the actor Lily Franky, that pivotal line is: “So, I’ll go back to being your uncle.”

What difference does it make? For starters, what seems to be Shibata’s rejection of the boy he bestowed with his own first name (both Osama and Shibata being pseudonyms) is anything but. He desperately wants to remain a part of Shota’s life, as Kore-eda makes clear when Shibata subsequently runs after the bus Shota is riding. In fact, it is Shota who rejects Shibata by not looking back, though when he is out of sight the boy whispers, “Dad.”
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