SHOPLIFTERS (MANBIKI KAZOKU)
Rotten Tomatoes: 99% / 100% / 92% MetaScore: 95 / 9.5
On the margins of Tokyo, a dysfunctional band of outsiders are united by fierce loyalty, a penchant for petty theft and playful grifting. When the young son is arrested, secrets are exposed that upend their tenuous, below-the-radar existence and test their quiet belief that it is love – not blood – that defines a family.
"The survival of families has been a constant concern for Kore-eda ... family is an emotive and fragile concept, vulnerable to the vagaries of economic hardship and social change. His latest film sees his focus as sharp as ever and his touch light but at the same time utterly profound." ~ John Bleasdale, CineVue.
"SHOPLIFTERS is a work of such emotional delicacy and modesty that you're barely prepared when the full force of what it's doing suddenly knocks you sideways. What makes Kore-eda's movie so quietly devastating, the work of a master in full command of his art, is that its emotional rewards stem from a deep engagement with the world rather than a retreat from it." ~ Justin Chang, Los Angeles Times.
⇝ Audience opinions
☀ SHOPLIFTERS, Hirokazu Kore-eda, Japan, 2018, 121 minutes.
☀ DATES & TIMES:
Saturday, January 19, 2019, 7 PM
Sunday, January 20, 2019, 4 PM
Friday, January 4, 2019, 7 PM
Saturday, January 5, 2019, 4 PM
Saturday, January 5, 2019, 7 PM
Sunday, January 6, 2019, 4 PM
Monday, January 7, 2019, 7 PM
Tuesday, January 8, 2019, 7 PM
Wednesday, January 9, 2019, 7 PM
Thursday, January 10, 2019, 7 PM
Evening screenings – venue opens at 6:15; seating at 6:30.
Matinee screenings – venue opens at 3:15, seating at 3:30.
THE GARFIELD THEATRE, 719 Race St, Cincinnati 45202. – Learn more
☀ TICKETS: Online & (859) 957-3456.
Single Screening, SHOPLIFTERS:
Adult general admission, $10 advance, $15 door.
Student/ArtsPass general admission, $8 advance, $12 door.
Student and ArtsPass ticket holders must show valid ID upon arrival.
Advance sales cut off four hours before show time; thereafter tickets will be available at the door.
☀ PARKING & DIRECTIONS:
Parking Options Google Map Drone View
Ample parking at affordable rates — 1,700+ garage spaces within two blocks ‐ Gramercy Garage (next door, enter via Race, 7th or Elm streets), Garfield Garage (9th St., next to the Phoenix) and Macy's Garage (7th Street). Another 363 surface lot spaces within a couple blocks, plus numerous on-street meters. Other transport options include the Street Car, Metro, Tank, Uber, Red Bike, etc.
☀ ADA ACCESS: We have completely revamped and improved ADA access, with a direct path to wheelchair spaces and companion seats (no outside transit, no ramps, no stairs). Individuals using walkers or wheelchairs should call ahead to let us know your screening date and time, (859) 957-3456.
☀ DINING & LIBATIONS:
Across the street from the Garfield, you'll find the Butcher & Barrel, home of delicious shareables, salads, entrees and desserts, plus excellent wine, craft beer and mixed drinks. CWC patrons will receive a 15% discount on their order, excluding beverages.
Enjoy a pre- or post-film meal or coffee and dessert, or hang at the bar. You'll need your online ticket purchase confirmation or ticket stub from the event – discount valid only for the date of attendance at the Garfield.
Hours: TUE-THS - Dining, 5-10 pm; bar 3:30 - midnight. FRI-SAT - Dining 5-11 pm; bar 3:30 - 2:30. SUN - Dining 5-9 pm; bar 3:30 - 1-pm. Advance reservations recommended – (513) 954-8974. Check out the menus and photos: thebutcherbarrel.com.
☀ QUESTIONS? Please or call (859) 957 3456.
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INTERVIEW WITH THE DIRECTOR – HIROKAZU KORE-EDA
You decided to make this film after learning about incidents of families illegally receiving the pensions of parents who had already died years ago. Was your intention to depict a family from a different angle compared to your previous films?
The first thing that came to my mind was the tagline: "Only the crimes tied us together". In Japan, crimes like pension frauds and parents making their children shoplift are criticized severely. Of course, these criminals should be criticized but I am wondering why people get so angry over such minor infractions even though there are many lawbreakers out there committing far more serious crimes without condemnation. Especially after the 2011 earthquakes, I didn't feel comfortable with people saying repeatedly that a family bond is important. So I wanted to explore it by depicting a family linked by crime.
The theme of this bond is central and other elements are added to it. Can you comment on this?
I started to think about which elements were unfolded and would be examined deeply after the casting was settled. As a result, this film is packed with the various elements I have been thinking about and exploring these last 10 years. It is the story of what family means, a story about a man trying to be a father, and furthermore, a coming-of-age story of a boy.
The impoverished family in the film reminds us of "Nobody Knows." What can you say about the similarity between that film and Shoplifters?
Shoplifters might be similar to Nobody Knows in the sense that this film also explores closely the sort of "punished" families we regularly see in news reports. It wasn't my intention simply to describe a poor family, or the lower levels of the social strata. I rather think that the family in the film ended up gathering in that house not to collapse there. I wanted to shine a light on such a family from a different angle.
The later scenes showing the family being split up are heartbreaking. We haven't seen such anger at social injustice shown so nakedly in your recent films. Can you comment on that?
It's true, maybe not since Nobody Knows. The core emotion when I was making this film might have been "anger". Since Still Walking, I have dug desperately deeper and more narrowly into the motif of personal things and after finishing After The Storm, I put the end to this approach of not broadening my vision to society, of minimizing as much as possible. It could be said that I have gone back to where I started.
Can you tell us why you decided to work with Kondo Ryuto (DP) and composer Hosono Haruomi?
I have always wanted to work with Mr. Kondo as I think he is one of the finest cinematographers currently working in the Japanese movie industry. He has very much a "director's" point of view, with a deep interpretation of story and character. So it was a good balance that allowed me to focus on directing the actors without having to worry about the cinematography. Before the shoot, I was thinking of this film was kind of a fable and sought ways to find and build poetry within reality. Even if the film was realistic, I wanted to describe the poetry of human beings and both the cinematography and music came close to my vision. As for the music, I have been a fan of Mr. Hosono's film scores in his previous works so I have always looked for an opportunity to work with him. In this film, his music captures the fantasy side of the story.
CAST & FILMMAKER BIOS
Lily Franky (Shibata Osamu)
Born on November 4, 1963 in Fukuoka, Japan. Graduated from Musashino Art University, Lily Franky has worked actively in various fields, including literature, photography, songwriting, acting, along with illustration and design. In 2006, he received the top Honya Taisho award for his first full-length novel "Tokyo Tower: Mom & Me, and Sometimes Dad", which sold more than 2.3 million copies and was made into a TV film, a TV series, a movie and a theatre play. As an actor, he received the Best New Artist Award at the Blue Ribbon Awards for his performance in Ryosuke Hashiguchi's Toronto-premiered All Around Us (2008).
In 2013, he received the Best Supporting Actor Award for Kore-eda Hirokazu's Cannes' Jury Prize winner Like Father, Like Son and the Excellent Supporting Actor Award for Kazuya Shiraishi's The Devil's Path at the 37th Japan Academy Awards. For these films, he received numerous further awards such as the 87th Kinema Junpo Best Ten Supporting Actor Award, and the Nikkan Sports Film Award. Further notable film work includes Shinya Tsukamoto's Fires on the Plain (2015), Kore-eda Hirokazu's After the Storm (2016), and Ohne Hitoshi's Scoop! (2016), for which he won supporting actor awards for the 40th Japan Academy and 59th Blue Ribbon Award.
Ando Sakura (Shibata Nobuyo)
Born on February 18, 1986 in Tokyo, Japan. Ando made her film debut in her father Okuda Eiji's Out Of the Wind in 2007.In 2008, Sono Sion's Love Exposure made its international premiere at the Berlin International Film Festival, and she won Best Supporting Actress at the Yokohama Film Festival and Best Newcomer Actress at the Takasaki Film Festival. With Omori Tatsushi's A Crowd of Three (2009), she was nominated for Best Supporting Actress at the Asian Film Awards. In 2012, she received multiple awards including Best Leading Actress for Our Homeland and Best Supporting Actress for For Love's Sake and The Samurai That Night at Kinema Jumpo Best Ten.
In 2014, Take Masaharu's 100 Yen Love was selected as Japan's Academy Award entry in the Best Foreign Film Category, and her performance won Ando many awards including Best Leading Actress at the Japan Academy Awards. Further notable film works includes 0.5mm (2013), Asleep (2015), and Destiny: The Tale of Kamakura (2017). In 2018, she is starring in NHK's morning TV series Manpuku. Shoplifters marks her first appearance in a Kore-eda film.
Matsuoka Mayu (Shibata Aki)
Born on February 16, 1995 in Tokyo, Japan. First coming to widespread public attention in 2012 for her performance in Yoshida Daihachi's Japan Academy Prize winner The Kirishima Thing, Matsuoka has worked actively in films and TV ever since. In 2015, she received the Best Newcomer Award for Cats Don't Come When You Call and Chihayafuru Shimoonoku at the TAMA Film Awards and Fumiko Yamaji Movie Awards. In 2016, she appeared in NHK's period TV series Sanadamaru.
In 2017, she made her first leading appearance in Tremble All You Want, which made its world premiere at the Tokyo International Film Festival, and for which she won the Tokyo Gemstone Award. Further credits include the Little Forest sequels, Strayer's Chronicle and Chihayafuru Musubi. Shoplifters marks her first appearance in a Kore-eda film.
Kiki Kilin (Shibata Hatsue)
Born January 15, 1943 in Tokyo, Japan. In 1961, Kiki entered the Bungakuza Actors Studio. Her appearance in the TV series Shichinin no Mago won her popularity nationwide. In 1974, she was acclaimed for her performance as the mother of the lead character in the popular family TV series Terauchi Kantaro Ikka. Since then, she has been active in films, TV and TV commercials, and recognized as one of the finest actresses in Japan.
In 2007, she received the Japan Academy Prize for Best Actress for Tokyo Tower: Mom and Me, and Sometimes Dad, and for Still Walking (2008), she won Best Actress Award at the Three Continents Festival. Further notable credits include Villain (2010), Chronicle of My Mother (2012), and Kakekomi (2015). In 2015, she appeared as a woman with leprosy in the Cannes premiered An, directed by Kawase Naomi, for which she received the Asia Pacific Screen Awards prize for Best Performance by an Actress. In 2016, Kore-eda's After The Storm premiered at Cannes Film Festival and won Kiki the Best Supporting Actress at the 24th Chlotrudis Awards.
HIROKAZU KORE-EDA – Director, Writer, Editor
Born 1962 in Tokyo, Japan. After graduating from Waseda University in 1987, Kore-eda joined TV Man Union where he directed several prize-winning documentary programs. In 2014, he launched his production company BUN-BUKU. In 1995, his directorial debut, Maborosi, based on the original novel by Miyamoto Teru, won the 52nd Venice International Film Festival's Golden Osella. After Life (1998), distributed in over 30 countries, brought Kore-eda international acclaim. In 2001, Distance was selected in Official Competition at the Cannes Film Festival, and Yagira Yuya, the star of his fourth work Nobody Knows (2004) garnered much attention for becoming the youngest person ever to receive the Cannes Film Festival's Best Actor Award.
In 2006, Hana, a film centered on vengeance, became his first attempt at a period piece. In 2008, he presented the family drama Still Walking, which reflected his own personal experiences, and received high praise from around the world. In 2009, Air Doll made its world premiere in Un Certain Regard at the 62nd Cannes Film Festival and was widely praised for marking a new frontier in its depiction of a sensual love fantasy. In 2011, I Wish won the Best Screenplay Award at the 59th San Sebastian International Film Festival. In 2012, he made his TV series directorial debut with Going Home.
Like Father, Like Son (2013), winner of the Jury Prize at the Cannes Film Festival, received the audience awards at San Sebastian, Vancouver, and Sao Paulo International Film Festivals and broke the box office records of his previous films in many territories. In 2015, Our Little Sister premiered in Competition at the Cannes Film Festival, and received four awards, including Best Film and Best Director at the Japan Academy Awards, as well as the Audience Award at the San Sebastian Film Festival.
In 2016, After The Storm premiered in Un Certain Regard at the 69th Cannes Film Festival. In 2017, The Third Murder premiered In Competition at the 74th Venice International Film Festival and won six awards, including Best Film and Best Director at Japan Academy Awards. On September 23rd, 2018 Kore-eda accepted the Donostia Lifetime Achievement Award at the San Sebastian International Film Festival.
Kore-eda has also produced films for young Japanese directors. Kakuto, directed by Iseya Yusuke, premiered at the Rotterdam International Film Festival in 2003. Wild Berries (2003) was written and directed by Nishikawa Miwa, whose second feature Sway premiered in Directors' Fortnight at Cannes in 2006. Ending Note: Death of a Japanese Salesman (2011) by Sunada Mami moved audiences worldwide.
1991 However... (Shikashi...) – TV documentary
1991 Lessons from a Calf (Kougai ha Doko he Itta) – TV documentary
1994 August Without Him (Kare no Inai Hachigatsu ga) – TV documentary
1995 Maborosi (Maboroshi no Hikari)
1996 Without Memory (Kioku ga Ushinawareta Toki) – TV documentary
1998 After Life
2001 Distance (Distance)
2004 Nobody Knows (Dare mo Shiranai)
2006 Hana (Hana yorimo Naho)
2008 Still Walking (Aruitemo Aruitemo)
2008 Wishing You're Alright – Journey Without End by Cocco (Daijoubu de Aruyouni Cocco Owaranai Tabi)
2009 Air Doll (Kuuki Ningyo)
2010 The Days After (Nochi no Hi) – TV drama
2011 I Wish (Kiseki)
2012 Going Home – TV series
2013 Like Father, Like Son (Soshite Chichi ni Naru)
2015 Our Little Sister (Umimachi Diary)
2016 After the Storm (Umi yorimo Mada Fukaku)
2016 Carved in Stone (Ishibumi) – Documentary
2017 The Third Murder (Sandome no Satsujin)
2018 Shoplifters (Manbiki Kazoku)
AS PRODUCER / EXECUTIVE PRODUCER
2003 Wild Berries (Hebi Ichigo) directed by Nishikawa Miwa
2003 Kakuto (Kakuto) directed by Iseya Yusuke
2009 Beautiful Islands (Beautiful Islands) directed by Kana Tomoko
2011 Ending Note (Ending Note) directed by Sunada Mami
2012 That Day – Living Fukushima (Anohi – Fukushima ha Ikiteiru) directed by Imanaka Kohei
2018 Ten Years Japan [Omnibus] (Juunen, Ten Years Japan) directed by Chie Hayakawa, Yusuke Kinoshita, Megumi Tsuno, Akiyo Fujimura and Kei Ishikawa.