BROKER - Review | Cannes Film Festival 2022

Hirokazu Kore-eda's latest film is another gentle and tender drama that feels consistently familiar with the rest of his filmography. As a result, the film doesn't offer much that makes it stand out compared to other films he's made. Regardless, it doesn't take away from the comforting but poignant viewing experience of watching the inevitable occur. Carried by its fun premise and the delightful ensemble of actors. Broker finds the right balance of humor and somberness that keeps demonstrating Hirokazu's versatility in making films outside his home country.

Still Courtesy – CJ E&M

Sang-hyeon (portrayed by Song Kang-ho) along with his colleague run a business where unwanted babies are dropped off in boxes that they take and sell in the market. But when So-young (portrayed by Lee Ji-eun) regrets leaving her baby Woo-sung in one of these boxes. She ends up joining the brokers on a road trip to find the best possible parents for Woo-sung. Meanwhile, they start being chased by authorities that want to take the baby for themselves and exploit their illegal actions.

This being the first South Korean project from Hirokazu who normally makes films in Japan, it was intriguing to see how different this film would feel to the rest of his work. While his deliberate and smooth way of pacing his dialogue-driven films is once again found here and it's not at all an incompetent presentation. It makes the resonating intent of the film not as powerful for feeling more like just another one that's part of his catalog rather than standing out. So much that for those that have seen his superior and last film set in Japan titled Shoplifters (2018). It's hard not to think about it while watching Broker for having very similar tones and plot structures. Both films follow criminals that illegally carry a minor with them while running away from authorities that want him/her. So it makes it feel like Hirokazu just made Shoplifters again but in South Korea.

Regardless, this is still a film that's very easy to connect with primarily due to the likability and charm that the cast provides. As they go on their road trip, not only does their playful dynamic give us an idea of what defines each character. But as the film progresses and their past start being revealed, it ends up bringing an emotional core by comprehending what these characters have gone through. Especially for Song Kang-ho and Lee Ji-eun who end up having some of the more impactful scenes on a ferris wheel and with another child where a darker side of them is uncovered. Each actor finds the right balance of being pleasant and subdued based on what the scene requires them to do.

Like Hirokazu's other films, its naturalism is very much conveyed based on the craft and filmmaking displayed on the screen. The angles mainly remaining at eye level while the camerawork lacking movement ends up complimenting this intent. That along with the detailed way that each indoor and outdoor setting is shown serves the film's believability. On top of that, Jung Jae-il who composed the outstanding music for Parasite (2019) has created a far more calm and soothing piano-driven score for this film. It ends up feeling very integral to the visuals while being used appropriately.

Broker certainly has a fun and unique premise with empathetic and dynamic characters to propel the story. But its lack of providing anything demanding and these same attributes feeling repetitive for how often Hirokazu utilizes them makes it just another really solid entry to his body of work. It's great to see him expanding his horizons by working in different countries and languages. This includes his last film The Truth (2019) being a French production. But if they end up feeling the same as his Japanese films, then it seems like wasted potential despite still always having a clear vision.

Verdict

7/10

Still Courtesy – CJ E&M