At the 71st Cannes Film Festival, the movie Hirokazu Koreeda with a golden palm.

I will not write at length about the film. I didn't like the movie! Of course, before explaining the reasons for this, we need to understand the context in which the film is based. The film is not about a local Japanese family that makes a living by hunting. The film tells about the precariat, whose number is increasing every year. this is the context. Of course what matters is how the film emphasizes precariat.
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First of all, I have to talk about this. The middle class, which has become a giant consumption monster, does not have the chance to obtain accurate and healthy information, firstly about the lives of the poor, and secondly, about the relationship these poor people establish with the system. they inevitably absorb this knowledge under the guise of ideology through the media, through the culture industry. After all, the poor are there, and these middle class members who have no intention of consuming anything else need to get an idea of these people. heh, that idea is subjected to a manipulated, muddy quality that has lost touch with reality.

choreda takes the precariat to its focus, but it makes them extremely cute, unreal, attributing an aesthetic value to their lives. However, the hardness of reality cannot do much with such aesthetics or anything. We are familiar with this from Demirkubuz and Yılmaz Güney Cinemas. Of course, the director of this ideology sandpaper cannot make everything unreal, otherwise the film would turn into a caricature. what is he doing If he is telling 7 lies, 3 tells the truth. for example, it refers to the precarious work of the man in the role of the father, but only to it. It refers to the sex show of the woman who cannot find a job, and the cry of the man alienated by capitalism in her arms, but it only touches on. He never dives deeply into these issues, goes superficially, and normalizes the contradictions of the system by confining the film to an emotional climate.

Interestingly enough, it does not deal with the family robbing the grocery stores, on the one hand, and on the other hand, it never deals with the phenomenon of consumer society in which the people who are the objects of this robbery belong. It shows precariat, that is, the precarious, out-of-class family with the subtext "We are poor but happy", just like in Yeşilçam movies. everyone is so happy! happy dismissed. happy who broke his leg with a work accident. That woman is going to jail, even then she's happy! And he winking or something. We are familiar with such wounded hero narratives from Hollywood, and their Japanese brothers are not behind. entertainment like a middle class in the sea, erotic sex in the rain… and the family is in constant cramming. there is no scene where they do not slurp and slurp. Not at the bottom of poverty, but a picture that can be called "they live comfortably, bro." All the worth belonging to the middle class is anachronistically attributed to the poor family.

Let me briefly tell you how those people lived. the father usually works in temporary jobs, there is no job security. When he becomes unemployed after 2 months, his future is uncertain. mom can not find an easy job anyway. He makes handcrafted products and tries to sell them for nothing, anyway, nobody buys them. The family is constantly struggling with illnesses because of poor nutrition and living conditions. but they do not have the money to go to the hospital or for examination. When there is no insurance, - if the premium is not filled - even if it is a public hospital, it demands money. they try to get rid of such minor diseases with husband and wife methods. hospitals look after them only when they reach the point of dying. he is also subjected to a stray dog ​​treatment on a stretcher in the emergency room. they cannot get respect from anyone because they are poor. they do their shopping from public markets. they can hardly enter the middle class spaces. They also do not want to enter because they feel inferior because of their clothes, poverty, and not knowing how to speak.

The people living in the apartment are rich for them, the man living in the heated house is in full enjoyment. More than that, they do not know wealth. sex? No one should suck leeks from the back or eat grapes under the rain. Generally, a blanket or a cover is placed in the middle of a single room. If they have mecals behind that cover, they do something weird. but they do not have the pleasure and energy to spare time for sexuality like the middle class. that is, they do not attribute the value we attribute. they have much more centripetal troubles. Neighborhood relationships are important. they develop strategies with other poor families and maintain a mutualist life. they know what where cheap, where is what is possible. In other words, as we see in the movie, they are not very full of backs. They cannot sustain their lives by such a whim. Although there are those who steal out of necessity, they are eventually caught and let go. they cannot live in endless pleasure like in the movie. interesting point, what is the camera in these markets, koreda master?

the short movie is nonsense. precariat groove is suffering. So who was the audience of the movie? Let me answer, that educated middle class, petty bourgeois. This is how the poor are described to these men. Koreeda, a major ideologist, is also awarded by cannes funded by shampoo companies. the system works like this.

The latest work of Japanese director Hirokazu Koreeda , of which I had watched two films before, embracing the Golden Palmiyey . The film is about the events that took place when a family living with minor thefts took home a child they found on the street. I hope I will have the opportunity to watch it as soon as possible. I am not afraid, as someone who watched the same director's movie called dare mo shiranai , was blown away and vowed never to watch it again.

Hirokazu Koreeda , an award-winning movie that broke a record, grossing $ 29.2 million in a month in Japan.

The film that can find a place in the top of the filmography of Hirokazu Koreeda, which shows us how special the director is for the art of cinema.

It is truly extraordinary to convince the audience in 2 hours that all events develop in a natural flow without any exaggeration or force. As you leave the hall and walk in Kadıköy, I think it takes a great deal of skill and work to create a feeling like wandering around the Japanese ghettos in the world the director draws you.

The players' share in such a masterful interpretation of simplicity and simplicity is enormous. However, even in this naturalness, it is very, very valuable to make the audience feel that they belong there, to hide mastery in the simple with perfect spaces, plans and fiction.