In film after film, from “Nobody Knows” to “Shoplifters,” Japanese master Kore-eda Hirokazu has proven himself to be among the medium’s most humanistic directors, inclined to see the best in people…
Returning to his native Japan after helming two relatively disappointing features abroad , the 2018 Palme d’Or winner opens his latest Cannes competition entry with a building on fire — a “hostess bar” where lonely men seek female company — and fifth-grade Minato watching the inferno from a nearby balcony. Kore-eda will return to this scene three times over the course of the film, folding the narrative back upon itself from a different angle each time, before finally revealing who set the blaze.
When the explanation for Minato’s behavior finally does emerge, it comes from left field, but pulls so many of the movie’s other mysteries together … except for one: Why would Kore-eda choose such a convoluted way of telling this particular story? By sharing only select pieces of each character’s private life, he all but obliges us to leap to incorrect conclusions, distracting with topics such as bullying, aggression and suicide when the real subject — how children are socialized, and the...
When Saori finally realizes something’s wrong, she calls a meeting with the school principal . Believing Minato’s claim that Mr. Hori is responsible for the way he feels, Saori demands to know what kind of school lets a teacher insult and hit the students. As the slight wisps of one of Ryuichi Sakamoto’s last compositions underscores her concern, Saori’s heart breaks a little to hear her son say, “My brain was switched with a pig’s.
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