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The heartfelt story of seeing this family knowing the can't care for another kid but seeing the state he at taking him in and showing them there life of shoplifting to survive has always stuck with me when everything i see if forget shows why this movie needs to be in everyone's top 10

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1. like the chill, lived-in kind of fare the director seemingly effortlessly excels at.

2. it becomes clear that Shoplifters has much more to say about the active choice of being a family member

3. Every scene adds another onion-skinlike layer, adding density and mass so slowly that you hardly notice the emotional weight

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Hirokazu Kore-Eda tends to stay at eye level with his characters. It's what makes his patient dramas, which often concern families and the subtle dynamics that hold them together and divide them, so involving. So when his camera flies high up above the Sumidas' tiny hovel midway through Shoplifters, on a buzzing summer night as fireworks pop in the distance, it's striking in context. What's more, in the midst of an otherwise lifeless Tokyo suburb, squeezed in between drab apartment buildings and the cold glow of energy-efficient street lamps, the Sumidas' cramped house, spilling over with people young and old, is the one bright spot of light.

But Kore-Eda isn't romanticizing his characters' poverty, or suggesting that it puts them more in touch with some abstract, sentimental idea of "what really matters." The film meanders pleasantly through its picaresque episodes of odd jobs and familial bonds and many a five-finger discount, and two-thirds of the way in it feels - not unpleasantly at all - like the chill, lived-in kind of fare the director seemingly effortlessly excels at. But when the script rounds its corner and the family's true nature comes into the light - not one single dramatic revelation but a cascade of them - it becomes clear that Shoplifters has much more to say about the active choice of being a family member - especially a parent - in a way that goes far beyond the Sumidas' particular situation.

Osamu (Lily Franky), Nobuyo (Sakura Ando), Aki (Mayu Matsuoka), and Shota (Jyo Kairi) all live under the roof of their grandma Hatsue (Kore-Eda stalwart and muse Kirin Kiki), living off her pension and the menial labor jobs Osamu and Nobuyo hold down. To make ends meet, the family shoplifts nearly all of their food, with young Shota and patriarch Osamu bringing home most of the ill-begotten bacon. ("If it's in a store, it doesn't belong to anyone yet," reasons Osamu later on.) One winter's night, while coming home from the day's errands, they spot a young girl (Miyu Sasaki), left outside on her parents' patio. It's not the first time they've seen her there, and fearing for her safety in the cold, they take her home with them. One wonders if a little bit of that shoplifting logic is at play, and how much stealing and saving are interchangeable ideas for the Sumidas.

The family's resources are stretched as it is, but when it becomes clear that the girl is being abused by her parents, they decide to informally adopt her. They give her a haircut and a new name - Lin - but none of it feels as sinister as that description sounds, even though they are technically kidnappers. As Nobuyo wraps her arms around her, almost defiantly, it's as if she's willing her affection to be a kind of vengeance against the cruelty and negligence of the world. "If they really love you," she tells Lin, tears welling up in her eyes, "they do this."

So begins a year in the life of this unconventional family and their newest member. Kore-Eda, even more so than his last film After The Storm, paints a picture of Japanese poverty that rarely gets airtime overseas. The setting is hardly recognizable to a foreign audience as Tokyo, far from the city's identifiable centers of commerce. Kore-Eda takes his time exploring the pockets of his ensemble's lives as individuals and as family members, from Aki's alienating job as a peep show worker ("I have a second name, too," she reassures Yuri/Lin), to Grandma's strangely dependent relationship with the children of her ex-husband and the wife he left her for. Every scene adds another onion-skinlike layer, adding density and mass so slowly that you hardly notice the emotional weight of it all until it is suddenly overwhelming.

This kind of subtle richness is not new for Kore-Eda, though it's as satisfying here as it's ever been. But its development runs parallel to the slowly dawning realization that all may not be as it appears in the family, and that their devotion to each other and exile on the margins of society are related, and under the pressure of external factors. Meanwhile, the hunt for Yuri becomes a national news story, but from our perspective, it seems trivial next to the fact that, by all appearances, Osamu and Nobuyo have given her a better life. When all that finally unravels, it feels as though the film flips around 180 degrees - no less empathetic than before, but more clear-eyed.

It's tempting to call material like this sentimental, but Shoplifters' matter-of-factness - even nihilism at times - about death and loss is bracing - and ultimately what makes it so heartbreaking. At the end of the road, Nobuyo tries to reckon with the fact that the life she's built for herself was always untenable, and I won't soon forget Ando, rubbing her head almost compulsively, her devastation boiling down to one repeated, wounded gesture. Shoplifters is a sneakily ambitious tale for Kore-Eda, and feels like one of the most consequential films he's made in a very long time.
Shoplifters was nominated for an Oscar in 2019 for Best Foreign Language Film.

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The Palme D'Or-Winning Shoplifters Is a Subtle Tale of a Family on the Margins

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Hirokazu Kore-Eda delivers another layered, intimate story, this time about a poor Japanese family that lovingly kidnaps an abused girl.

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1.they‘re petty thieves, with a passion for stealing from stores.

2. irate shopkeepers will lead somewhere. It doesn’t.

3. Performances by the entire cast are decent but not a revelation.

4. Cinematography, editing, set design and other production elements don’t stand out.  But don’t get in the way.

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The new film by Oscar-nominated director Barry Jenkins plays right into the New York Film Festival's style guide. If Beale Street Could Talk is a lushly created, gorgeously crafted work of art. At times the style outweighs the storyline, but most people looking for art films won't care. The same can be said about a lot of the slate at the 56 th annual New York Film Festival: Visually transporting but lacking in the consistently engaging storytelling that can add pep and momentum to what's on view.

If Beale Street Could Talk (***) There was something so fresh about Moonlight. The subject matter, cast, plotline, strong production elements and understated direction put it in a class all its own. Looking back on it, most viewers will remember the narrative first, distinct characters second and the behind the scenes production elements last.

The opposite is true for this new endeavor by filmmaker Barry Jenkins, who directs this adaptation of the James Baldwin novel If Beale Street Could Talk. This project, which Jenkins wrote, won't be remembered for its innovative plot. Instead, audiences will never forget the sumptuous cinematography (James Laxton), lush musical score (Nicholas Britell) and the evocative production design that seamlessly set mood, tone and time period. Jenkins is no longer just a filmmaker, he is an artist.

Shrouded underneath the exemplary but heavyweight production elements is an ever so slight love story about a young black couple, Tish Rivers (KiKi Layne) and Alonzo "Fonny" Hunt (Stephan James), who fall in love and set out on a life journey. Their relationship takes several twists and turns. She becomes pregnant and they endure racism, police malfeasance and wrongful incarceration in 1960s New York City.

The film pulls you back into the '60s, but what's on view never looks real. It's like you're being placed in someone's extremely well art directed dream. You feel detached from the characters' challenges and you're missing the gritty feel of a James Baldwin novel.

The one exception is a vibrant scene when the families of the couple meet and all hell breaks loose. The conversations, dynamics and in-your-face dialogue put the ghost of Baldwin in the room. Tish's parents (Regina King and Colman Domingo) and her sister Ernestine (Teyonah Parris) are trying to break it their future in-laws (Aunjanue Ellis and Michael Beach) and their offspring (Ebony Obsidian and Dominique Thorne) that Tish is going to have their son's baby. In a very huffy voice, Mrs. Hunt says, "My daughters won't bring home no babies for me to raise." The very feisty Ernestine responds, "That's because no one will f-k 'em."

Jenkins is adept at pulling solid performances from his cast. In particular, he gives Regina King room to take center stage. As Tish's concerned mom, she tries to find evidence that will free her son-in-law. King turns that role into the performance of her career. Style over substance makes this film imperfect. The acting is a great equalizer.
Noteworthy NYFF Films
At Eternity's Gate (***) The enigmatic life of Dutch artist Vincent Van Gogh, who struggled with mental illness, has been the subject of many bio films (Loving Vincent, Lust for Life, Vincent & Theo). This latest interpretation, by painter turned filmmaker Julian Schnabel ( Basquiat, The Diving Bell and the Butterfly), focuses on the last days of Van Gogh's (Willem Dafoe) life as he is financially and emotionally supported by his brother Theo (Rupert Friend, Hitman: Agent 47) and mingles with fellow painter Paul Gauguin (Oscar Issac, Operation Finale). The script, by Jean-Claude Carrière, Louise Kugelberg and Schnabel, loosely gathers together the bits and pieces of Van Gogh's downward spiral. During the late 1880s, his output is prolific but appreciated by few as he struggles with bouts of insanity, rehabilitation and relapses in Aries, France and then finally in Auvers-sur-Oise, France.

Schnabel accentuates the visuals, films prolonged instances of the artist running through fields, drags scenes on longer than necessary and gives Dafoe and Issac dialogue that doesn't always fit the time period. He is far better at making the relationships-friendships, sibling love-feel deep and rich. Dafoe looks like the artist and captures his spirit. The pacing is off (editors Louise Kugelberg and Schnabel) and some parts could put an insomniac to sleep. However, stick with the film, and your stamina will be rewarded. At Eternity's Gate, which is named after the final painting Van Gogh created while in an asylum shortly before his death, leaves a lasting emotional impression.

The Ballad of Buster Scruggs (**1/2) There's a gleam in the eye of the thin, cocky, squirrely-faced singing cowboy Buster Scruggs (Tim Blake Nelson). He's smiling because he can outdraw larger burly men twice his size. The craziness of this vignette gives hope to audiences that the eccentric filmmakers Joel and Ethan Cohen ( O Brother, Where Art Thou?) have struck pay dirt again. They have, but with a few lapses. More vignettes follow in this Western themed film, but only one has the same precision as the Scruggs mini-story: In the segment "Near Algodones," a bank robber (James Franco) faces a hanging, and haphazard events stall the inevitable. It's very clever. The rest of the chapters that follow have good ideas (gold digging, wagon train, stagecoach ride) that are under developed. However, the beautiful cinematography (Bruno Delbonnel, Amélie) and rousing musical score (Carter Burwell, Three Billboards Outside Ebbing, Missouri) are excellent throughout. When Scruggs croons, "...when a cowboy changes his spurs for wings," you will smile.

Cold War (**1/2) Oscar-Winning Polish filmmaker Pawel Pawlikowski ( Ida) conceived, wrote and directed this oddly affecting love story about a chorus girl and a pianist. He (Tomasz Kot) plucks her (Joanna Kulig) from a stage musical and decides to make her a star. He nurtures her, develops her limited talent and turns her into a chanteuse of note in Poland and later Paris. Meanwhile World War II erupts around them and over the course of their relationship politics and prison collide. The direction is fine and nuanced adding a touch of romance in so many scenes. Cinematographer Luckasz Zal captures the love affair in gorgeous black and white. The era is set impeccably and the two lead performances are attractive to watch. Eighty-eight minutes roll by and the dirge-like pace (editor Jaroslaw Kaminski, Bikini Blue) zaps the fun and life out of the tale.

The Favourite (****) If you're tired of those boring royal British films and want to see the genre turned upside down, this dark, nasty bit of debauchery and revenge sex will leave you gasping for air. The setting is 18 th century England. The very sickly and insecure Queen Anne (Olivia Colman, The Lobster) reigns. Lacking the will, courage or brains to handle day-to-day governing, she depends on her lady-in-waiting, Sarah (Rachel Weisz, The Constant Gardner), to run the palace and the country. It's a nice, easy arrangement, with some Sapphic fringe benefits. Then one day, Sarah's cousin Abigail (Emma Stone) shows up, destitute and in need of a helping hand. Sarah gets her a job in the kitchen with the servants. Little does she know that her cousin is far more ambitious and conniving than she. Sexy, venomous treachery ensues. This bit of embellished history, written by Deborah Davis and Tony McNamara, doesn't spare the audience the indignities, backstabbing and bed-hopping that went on back then. Fact? Fiction? Five minutes into the film you won't care.

Considering the period, setting and genre the most unlikely director in the world for this exquisite-looking art movie is the very eccentric (hard-to-stomach) director Yorgos Lanthimos ( The Lobster, The Killing of a Sacred Deer). He has harnessed his formerly uncontrollable urge to make sick, esoteric films and put his weird but undeniable talent to good use savaging British royalty. He sets and keeps a glib, depraved tone (a la Ken Russell's The Devils) from beginning to end. And does a wonderful job guiding the exceptional tech crew: Robbie Ryan, cinematographer; Fiona Crombie, production design; Caroline Barclay art direction; Sandy Powell costume design. The cast creates twisted, indelible performances. Add in perfect editing by Yorgos Mavropsaridis and an entrancing musical score and two hours roll by in what feels like a few minutes. Storm the palace and take no prisoners.

Private Life (***) When she first appears on screen, you might look at her and think, "I know her. She was on Saturday Night Live-or something like that." But no, the comic actress you're eyeing is that crazy actress from the Bad Moms movie franchise; the one who took those comedies over the edge. Same deal with her whacked out Chrysler Pacifica commercials. It's Kathryn Hahn, and for this very endearing romantic family comedy/drama, she turns the cray cray up another a notch. Rachel (Hahn), a despondent, neurotic New York woman (is that redundant?), is having trouble getting pregnant with her life partner Richard (Paul Giamatti). IVF? They've tried everything and are at their wits end until their niece Sadie (Kayli Carter) moves in and the couple hatches a plan.

The creative genius behind this sweet and amusing endeavor is writer/director Tamara Jenkins ( Slums of Beverly Hills) ,who makes an aging couple's quest for having a child a very intriguing and compelling premise. Jenkin's script gives Hahn juicy dialogue. Rachel comments on a former co-ed who is an egg donor: "She has BA in cinema studies. No wonder she's selling her eggs. She can't get a job!" Your heart goes out to the couple and the incessant, wry humor makes it worth the effort. Molly Shannon ( SNL alumnus) as Sadie's mother turns in a surprisingly bitter and caustic performance as the mom who is aghast at her in-laws' relentless quest. Everything works about this film except for a dubious ending that makes the couple look less sympathetic. A crowd-pleaser.

Shoplifters (**1/2) The Shibata family lives by their guile in Japan, which is a nice way of saying they're petty thieves, with a passion for stealing from stores. There is no shame in their game. Dad (Lily Franky) has taught his surrogate son (Kairi Jyo) his livelihood, with no guilt whatsoever. One day they find a little girl (Miyu Sasaki), who has been abused, on the streets and take her in. The well laid out setup-rickety home, poor neighborhood and lively clan who lives off their grandma's gov't check-makes you think their brushes with the law and experiences with irate shopkeepers will lead somewhere. It doesn't. Director/writer Hirokazu Koreeda makes a mildly powerful statement about living in poverty and finding creatives ways to survive. Performances by the entire cast are decent but not a revelation. Cinematography, editing, set design and other production elements don't stand out. But don't get in the way.

Roma, Wildlife, High Life and other films on the NYFF slate attest to the festival's keen eye for art films.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com.

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Art Films Dominate the 2018 New York Film Festival

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The new film by Oscar-nominated director Barry Jenkins plays right into the New York Film Festival's style guide. If Beale Street Could Talk is a lushly created, gorgeously crafted work of art. At times the style outweighs the storyline, but most people looking for art films won't care.

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1. Shoplifters isn't a movie about petty crime this movie is about what it means to be part of a family

Evidence. With the fact that they can barely make ends meet they still take in this new girl because she needs a family

Evidence from review. Emily Yoshida from Vulture says it's "clear that Shoplifters has much more to say about the active choice of being a family member"

2. This movie hooks you in with how theres new emotional appels added in every scene and you want to stick by to see how it plays out.

Evidence. The biggest example of this is how the facr they kind of kidnapped this girl you want to see how it plays out but other stuff happens so you forget till the end.

Evidence from the review. Emily Yoshida from vulture also sees that in this movie "you hardly notice the emotional weight of it all until it is suddenly overwhelming."

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Dwight Brown See this movie all just about a family doing petty crimes and going on to thing of the movie as "a mildly powerful statement about living in poverty and finding creatives ways to survive."

My answer to the criticism

The movie when you watch this a keep part of what makes this movie special is the fact they keep doing petty crimes to survive. When you watch its movie just that, this movie at the end of the day is about family see how they survive and care for one another even this in life of poverty they are in