Hirokazu Kore-eda for The Medium – Filmkrant

Still abandoned children and surrogate family forms Hirokazu Kure-eda (no one knows; Gold Award Winner thieves) is running. Funky road movie mediator Makes the link with the foundling holes, where the children can be left behind. Kore-eda: “Taboo fascinates me.”

“I only speak Japanese, so interpreters were used on set,” says Hirokazu Kore-eda, through an interpreter in a Paris hotel. We are talking about mediatorSouth Korea in Kore-eda turned into a new record of modern families.

“At least with the actors,” he continues. “I communicated with the photographer through gestures and looks. Moreover, the method of working is not different from one country to another. I start by observing the actors and this is something non-verbal. I don’t need to understand the language of movement and rhythm.”

This may be true, but Kore-eda is really relaxed and only joking when talking about his child actors. About the young man who stunned Steven Spielberg in casting for the American remake of Kor-edda Like father, like son (2013). And the unguided missile mediator, which, according to his mother, finally learned discipline on the set. “Ahem,” he laughs. “Working with children takes a lot of time and patience, but it pays off.”


Why is he playing mediator in South Korea? “There is only one bastard slot in all of Japan, so a movie on this topic would be directly related to that specific location. South Korea has more and it is used so often, that it is almost a social phenomenon. This adds credibility. It has The idea and the taboos associated with it fascinated me for some time.When I told a journalist about my interest in the 2008 Busan Film Festival, I was surprised to learn that foundling gates—places where mothers who choose to adopt can leave their children behind anonymously—were established in South Korea. It inspired me to write a story about illegal child trafficking.”

Untouchables central again. Bee no one knows (2004) called You Want to Make Invisible Children Visible to Society, focuses eighteen years later mediator on adults who are equally marginalized and invisible. “Bee no one knows I wanted, as the title indicates, to show things no one else knew: children living hidden from society. Also in thieves [2018] There is a hidden life, but there is about the composite family that keeps things secret out of self-interest. in mediator Two detectives pursue criminals who steal children from a staircase for foundlings, in order to catch them in the act of a possible sale.
The prevailing opinion is that mothers who leave their children in this way do so out of love. I wanted to point out that different explanations are possible, and that there are multiple reasons and reasons behind such a dramatic decision. The common denominator of all my films is the idea that there is a complex truth hidden behind every action in human life and that we can and should look to people with a less prejudiced and judgmental viewpoint.

Non-traditional families often feature in your work.still walking [2008] It was a turning point in that, because I made this movie about painful family ties shortly after my mother died. Her death changed my position within my family. I became a father from my son, because in the meantime my daughter was also born. Before that I always shot from a children’s point of view Like father, like son I took the father’s point of view for the first time. What still amazes me is the role each family member plays. I began by asking what a family is, and then focused on the different forms that families take. mediator It deals with the question of whether blood ties are all that matters and whether the time they spend together may not be as important. since then thieves My fascination with people who want to start their own families, their own little community within a society that marginalizes people has grown. In both Japan and South Korea there is still a very traditional view of family, while I think the idea that blood is above all things is outdated. Adoption is still a sensitive issue in Japan. mediator He wants to show that other forms of family are possible. During the search for adoptive parents, a kind of surrogate family arises who cares for the child, the child who was initially seen only as a commodity or evidence in a criminal act.

You share an interest in unconventional family relationships with your idol, Mikio Naruse. “not this mediator Try in a new edition. It’s impossible to do a Naruse remake because there aren’t any actors or actresses of this caliber left in Japan. But if I could pick one it would be it Inazuma [Lightning, 1952] We are. The story of a woman who has several husbands and has children with them and is not observant of norms. Incredibly cool. “

It’s amazing that you are mediator It does not begin with a single perspective or a single main character or narrator, but presents the perspectives of several characters. “I wanted to spread the attention on several of the main and minor characters. At first, the setting was more limited: a mother and two cheaters who, due to circumstances, end up in the same car and drive off together. In my original idea, the baby is already sold by the time the story begins.” Over time, they grew closer, formed a sort of family and attempted to retrieve the child.At the time of writing, two police detectives have been added.The female officer decided to remain childless and through her research approached a woman who had a child and decided to place him in the foundling hole.During the trip, Understanding grows between the two women. It was important that space be given to each character. After all, everyone has a role to play. In addition, the story has many layers, so the characters have to be adequately developed.”

Also the lively boy who crosses their path. “What I find fascinating is the critical look a child has at the world of adults, the way he analyzes that universe from the inside. Also interesting is the look of the dead, the vanished people who watch, judge and criticize us. I love stories where children watch us from the inside and the dead watch us from the outside. young actor mediator It was also an energy bomb. He was always very excited and had to be calmed down before every shot. But in the orphan’s crucial question, “Why was I born?” , It was amazing. By striking the right tone emotionally, he created tragedy.”

The child’s gaze is also the film maker’s gaze. Does your experience play a role here? “Undoubtedly. As a documentary filmmaker I learned to observe. Before I set out to make fiction, I first observe real people and real situations. In this case, throughout my research, I listened to children who were left behind. Their almost casual question about whether they were born command echoed Well, this painful reaction determined which emotion was the trigger mediator It had to be.”

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