24 Feb 2019
Sometimes films are not necessarily audiovisual sensory experiences (they don’t offer any images); sometimes they are not about stories and conclusions. Instead, very plainly they pose a very deep fundamental question. A question that many people can relate to and understand. Basically, they are not good films but profoundly effective at the same time. Hirokazu Kore-eda’s Shoplifters (2018) is such a film. It challenges you to think what the meaning of family is? Does a person born inside a family or does that person choose/create one? Any answers are irrelevant here, only the question matters.
Accidentally, today I read a text by Henri Langlois which said “…people intent on triage, who think they have taste, me included, are idiots. One must save everything and buy everything.” This statement is painfully real and essential. Cinema is an infinite, unknown and utterly strange universe. One can only experience it as long as one able to live, just like our life during the living years. There is so much to see and learn, and of course, you can never watch too many films, pity! This form of art is such a massive feeling of cosmic immensity but also tied in with relationships between people and, at once, the power and absurdity of images. So vast and so intimate. Is Cinema a tool to investigate the strangeness of existence? Is it about exploring and analysing the human condition on this planet? Alternatively, something else?
To be honest, the more I watch films, the more baffled, confused and numb I become and so as my films.