Lucky Stars – Hirokazu Kore -eda

Summary: One rainy night, a young woman left her baby. Two men picked her up illegally, she was determined to find a new family. On an unusual and unexpected trip across the country, the fate of those who encounter this child will change dramatically.

© FDC / Philippe Savoir

Dangerous: Hirokazu Kore-eda will return to the Croisette with this film after being awarded the Palme d’Or in Something in the family. The filmmaker is temporarily produced in France The truth, with Catherine Deneuve and Juliette Binoche, shot in a lunar and gloomy Paris. In other countries Kore-eda also finds the action of Nasira (international title). But this time, the filmmaker stayed on the Asian continent by choosing South Korea. Because the narrative is so faithful to his earlier works, the feeling of devastation doesn’t really appear. Bagkos, The lucky stars marks a continuation on its device. Combining detective plot and family chronicle, the film shows interesting characters who are more (or because of) their flaws. So-young is torn between a sense of motherhood, the desire to give her child a better existence than hers, and the desire to ruin the memory of a man who abused her; the abandonment of her young child was a plea for help more than a denial of motherhood.

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Policewoman Su-jin, who seems inflexible and unquestioning in her professional life, will reveal herself as a real person. As for Sang-hyeon and Dong soo, the two friends who make a profit from selling babies, however they have a father stain, the presence of a happy child by their side testifies to their goodness on a daily basis. So-young’s arrival in the two men’s lives will be the source of an unprecedented family reorganization that reflects the relationships between the main characters in Something in the family. Additional links can be made to the filmmaker’s earlier films, all of which are being shown at Cannes. The relationship between the child and the infant is corresponding between siblings with the father abandoned in the apartment of No one knows (performance prize for young Yûya Yagira in 2004), especially in the desire for protection on the part of an elder: a feeling we also see in our little sister (official competition 2015).

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The stability of parental love is an extension ofafter the storm (Un Certain Regard 2016) and above all Like a father, like a son (Jury Prize 2013), which also responded to the theme of adoption. The lucky stars also shares an emotional fiber, though a tone of lightness in some scenes pays for the oppression of situations. However, it should not be thought of as thatThe lucky stars is an agreed upon celebration activity. Its apparent beauty and its accessibility do not prevent Kore-eda from sketching, with some frustration, a striking picture of our contemporary society centered on many conflicts of values. Korean performers are happily moving into the world of the Japanese director. We especially appreciate the precious Song Kong-ho (Parasite) and Donna Bae, who previously acted as an uncertain cop A Woman at My Door).

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