{"id":113832,"date":"2022-12-24T14:44:58","date_gmt":"2022-12-24T09:14:58","guid":{"rendered":"https:\/\/www.imageantra.com\/broker-2022-review-hirokazu-koreeda-subverts-the-concept-of-genre-with-a-warm-and-charming-drama-built-on-the-murkiest-thriller\/"},"modified":"2022-12-24T14:44:58","modified_gmt":"2022-12-24T09:14:58","slug":"broker-2022-review-hirokazu-koreeda-subverts-the-concept-of-genre-with-a-warm-and-charming-drama-built-on-the-murkiest-thriller","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/broker-2022-review-hirokazu-koreeda-subverts-the-concept-of-genre-with-a-warm-and-charming-drama-built-on-the-murkiest-thriller\/","title":{"rendered":"Broker (2022) review: Hirokazu Koreeda subverts the concept of genre with a warm and charming drama built on the murkiest thriller"},"content":{"rendered":"
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Among all the resources and tools that a filmmaker can use to shape a feature film and differentiate it from others that could be considered homologous due to their theme or plot, tone rises as the absolute hallmark for any kind of story<\/strong>as well as as a determining factor to underline the fragility of the rating system by gender.<\/p>\n

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There is no doubt that the existence of film genres is enormously useful both industrially and personally, but these, like energy, they are continually transformed until they almost lose their original meaning<\/strong>. It is at that moment when the tone makes an appearance and completely breaks the schemes and prejudices associated with a less precise label than expected.<\/p>\n

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The last example we can cling to to defend this position is ‘Broker’, the magnificent new film by Hirokazu Koreeda. With it, the Japanese filmmaker has not only squeezed every last drop of the overflowing talent of his South Korean cast; but he has shaped an emotional <\/strong>road movie<\/strong><\/em> which, unexpectedly, works like<\/strong> real balm for the heart<\/strong> despite being built on a narrative core worthy of the darkest and most devastating exercise imaginable.<\/p>\n

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question of tone<\/h2>\n

With ‘Broker’, Koreeda returns to project his interest \u2014perhaps obsession\u2014 for the meaning of the family, its nature and its dynamics<\/strong> after doing the same in films as celebrated as ‘Like Father, Like Son’, ‘Nobody Knows’ or ‘Still Walking’; replicating the warmth of ‘A family affair’ while not hesitating to dive into particularly thorny ethical and moral issues and dilemmas.<\/p>\n

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The trafficking of minors, the central axis of the story, is combined with police investigations, prostitution, murder, and even with a perhaps too directed debate \u2014if there is one\u2014 between abortion and abandonment in what could have been a thriller<\/em> really suffocating. but the tokiota rules out plunging his work into a dense gloom to, in contrast, overflow it with luminosity<\/strong> and dress it with a good dose of syrup.<\/p>\n

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Far from being artificial, this spirit of feel good movie<\/em> It works perfectly thanks, mainly, to a treatment of characters that is as lucid as it is successful. Scene after scene, the director and screenwriter close ties between the public and an assortment of protagonists made up of a handful of losers<\/strong>unfortunate and of dubious morality that make their way to the heart with a blow of sweetness and charm.<\/p>\n

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