A baby is placed at the gates of a reception center (or a reception station, which is an even bleaker concept), abandoned by its mother. When she is there, she regrets it and goes back to get it back, she discovers that two men have taken it in and are now trying to sell it to couples wanting to start a family. She joins the company to try to place her son, while two detectives go hunting.
Family found hits the road
Told like this, it sounds like a detective thriller darker than a David Fincher movie, with components of absolute drama that expose the miseries of society. Not exactly material for one of the most beautiful and exciting movies of the last year, which gives a feeling of warmth during viewing. But that’s the way this gem that’s just arrived at Filmin is called ‘Broker’.
just someone like Hirokazu Koreeda find the spaces for a moving film, albeit in the most conventional way. The Japanese moves to South Korea to try to reverse both the terrible events that are really what we see in the film and also to subvert the police part so that its tension becomes astonished stillness. It magically ensures that you don’t question the morality of anything you’re seeing, despite the fact that if you start to list the things that happen, it invites you to do so.
Koreeda knows that judging is not her role nor should it be that of the spectator. ‘Broker’ gently introduces you into the story, using that camera that observes everything with curiosity and those touches of very nice everyday humor. It helps make everything palatable, while also satisfying those used to the director’s style. It does not surprise or offer moments that shake your seat, at most there are slight reminiscences of the thriller that tried (and did not work well) in ‘The Third Murder’.
Of course, the regulars will see again another of his stories of found families, of relationships forged with more force than blood ties, although these too gradually awaken. It’s comfort zoneYes, so it’s not crazy that some can talk about a minor work in this case. But, at the same time, the emotional keys work, the road trip touch is very well done and the cast with Song Kang-Ho and Gang Dong-won at the head is splendid.
He always makes the most of every interaction, never feeling like he’s wasting footage or with those moments between cops making conversation in the car through binoculars. That is why seeing it is a delight with which it is difficult to turn from the nose. If you choose to do it, it probably says more about you than what it is capable of. such an exquisite and essential storyteller how is koreeda
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