Honorable Japanese director Hirokazu Kore-Eda walks a fine line between deep social observation and publicly sensitive emotion in the title of the Cannes competition. Broker.

2018 Palme d’Or winner Shopkeeper And the winner of the jury award for him five years ago As the father is the son, The writer-director again shows great sympathy for the characters who are trying to discipline their lives, examining their plight from every possible angle and finally taking them to a position where they can do the right thing. There’s a bit of relaxation in storytelling here, a sense of instinct that helped keep things moderate, but it’s still a warm, often funny fact that people find their way through a difficult situation.

The opening is a virtually automatic audience capture that evokes emotional reactions from the start: Late at night, a child is dropped off at a large city care center with an attached note that read, “I’ll be back for you.” Despite proper protocol, the two crew members on the call, Sang-hyun and Dong-su, decide to take Sprig home with them, embarking on a physical and emotional odyssey that spreads and sparks throughout an exciting but leisurely two-plus hour. Up equal amounts of entertainment and emotion.

In short, however, the mother, So-young, a disinterested and very attractive young woman, changed her heart and returned to collect her baby, only to learn that the baby had already been abandoned. The situation escalates rapidly, the authorities become involved and the film is transformed into an ideological road movie to show that everyone involved is involved in their guardianship, responsibility, taking the wrong path, second thinking and all kinds of human error.

For some time the goal of men has been to sell the child, which obviously would not be illegal given its official orphan status, and this leads to a kind of audition process for adoption that is appropriate and initiated. The discussion and argument that takes place fills the open street time with a good deal, and in length the characters expand into dimensional images arranged with their own desires, flaws, and changes of heart.

Broker It may not be a profound film, but it is one that deals closely with human weakness, emotional resilience, a wide range of moods, and the hopes and aspirations of those who have long been involved in their social roles. Change can be difficult and socially limited, but the film embraces the idea that its characters can develop emotionally and get results that they did not consider before.

Despite the urgency that multiple characters feel about the consequences of their slow pace, there is a leisurely feeling about the enterprise that allows them to consider their mixed feelings, conflicting emotions, and future intentions in a realistic way; While some characters may suddenly feel like big decisions, we can truly feel that they have been stewing and weighing problems for a long time. This does not mean that they are right, but we can feel that thinking and thinking has been introduced.

The performances are equally alive and the characters live perfectly, with true satisfaction from the whole costume nature of the proceedings. It feels good living.

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