2018’s ‘Shoplifters’ by Kore-eda can be perceived as a companion piece to South Korea’s Bong Joon Ho directed ‘Parasite’ (2019) as both tackle social class, economic oppression, and families struggling in the middle of it all; on the other hand, ‘Shoplifters’ and ‘Monster’ are portrayals of how it can be challenging to be a child in current days Japan which is different from how childhood is portrayed in British and American media and also displays Kore-eda’s proficiency to direct child actors straying them away from the acting more seen in TV ads and children’s TV shows.

‘Monster’ revolves around a mother demanding answers from a school and a teacher when her son shows erratic behaviour. Minato is a youngster facing hard times and is played with conviction by Soya Kurokawa, who can express anger, frustration, and enchantment like a veteran. As part of his narrative comes classmate Yori, an odd and introspective child interpreted by Hinata Hiiragi, who brings the sort of vulnerability that sets the pre-teen aside from his classmates and makes him a target to bullies.

Bullying is a disturbing reality in Japanese schools, which have a stricter educational culture than their Western counterparts due to societal demands and expectations. Still, Kore-eda doesn’t paint an easy picture, segregating characters into “good and bad” archetypes. Although presenting teachers and staff as fallible and sometimes even incompetent and immature, the director is empathic to the struggles of those responsible for preparing the future generations of their country and how they are sometimes suffocated by parents and even the media who also don’t respect their private lives and those who they choose to be their partners.

The movie also touches on the subject of neglect and parental abuse, which is still a taboo in mainstream media. Although more prominent with the debate of mental health and music movements like new wave and grunge, the hardships of parenting and how toxic parental figures can scar the young ones is hard to approach because it is not a viewer-friendly matter, and the result can be something corny, however, it is touched with a peculiar and masterful eye.

Kore-eda knows how to land on such complex grounds and deal with stomach-turning subjects without resorting to easy emotions and answers. Kore-eda leaves it to the viewer to interpret, and they won’t be able to grasp it at the exact moment they watch; hence, they carry the narratives to their homes.

The experience is furthered by the well-crafted and evolving soundtrack by Japanese legend Ryuichi Sakamoto in his last and posthumous film collaboration. The soundtrack acts much like another character, an observer that beholds the moments of drama and the joys of being a child or an adult enjoying a healthy relationship.
It is not only a great screenplay, but it also packs great images like showing the roles that fire and water play in telling this beautiful story and showing a side of Japan not much seen in samurai and yakuza films that for long have been the most contact Westerners have had with this country outside anime and gaming.

‘Monster’ is another solid entry in Kore-eda’s oeuvre and world cinema, and it can also be considered one of the best films of 2023. Kore-eda is a master of his art, and each film delivers a different experience of how complex human relationships can be.

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The Plot

Teenager Elliott is preparing to head off to college, she lives in a beautiful rural area of Canada on her family’s cranberry farm and is desperate to head off to the city. She has a wild mushroom-fuelled adventure with her friends to celebrate her 18th birthday and in the drug-altered state is approached by Older Elliott, her, from the future, aged 39. Their communication continues once the drugs wear off with Older Elliott eager to impart wisdom and advice to her younger self.

In Front Of The Camera

The movie stars Maisey Stella as Elliott and would perhaps be known as a star of the tv show Nashville and has few other credits to her name.

The other star is Aubrey Plaza – Older Elliott. Plaza has been a cult tv and film star for a long time and is constantly breaking into bigger and bigger roles. Her breakout role came as deranged and perennially eye-rolling intern April Ludgate in Parks and Recreation but has starred in films like Emily The Criminal, Ingrid Goes West, Black Bear and many more. Plaza is known for her odd performances often with dark humour and weird premises. In reality, Maisey Stella plays the only main character, with everyone else, including her older self, revolving around her.

Behind The Camera

The film is written and directed by Megan Park, an actor and filmmaker. Park has appeared in films like Charlie Barlett and directed a number of music videos and short films and then made the critically acclaimed Fallout, a film about a high school student who survived a school shooting, with the film focussing mainly on her life after that, the “fallout” of that life-changing incident.

Does It Work?

My Old Ass is a funny and emotional coming-of-age story. It constantly has beautiful shots of the stunning landscape in which the film is set. Maisey Stella is fantastic, managing to be endearing and annoying at the same time. The film however ultimately felt disappointing. The premise of the visitation of your older self and how that would impact you and the advice they could give you to make things better is interesting but the film does not actually spend much time on this idea. Older Elliott provides some useful if not terribly original advice about spending more time with your family and appreciating them more. Some of their conversations are genuinely engaging, funny and emotional but it does not feel like the idea was fully explored in this film. It could be that Park does not want to explore that idea a great deal, it is a solid film with or without it, but many in the audience will expect it to be a larger part of the story, to do more with this idea of your future self.

Much of the above criticism is about expectation management and it shouldn’t take away from the great parts of the movie. There are tender and kind moments aplenty, the friendship between Elliott and her two friends, Ro and Ruthie, is a highlight. As Elliott does become closer to her family we see the value this brings, the improvement to all of their lives. There are a couple of devastating scenes that are handled perfectly by all involved. While Plaza and Stella are fantastic in these scenes Percy Hynes White as a newcomer to the area, Chad is also very good and his brief interaction with one character is especially poignant.

My Old Ass goes through the usual travails of coming-of-age stories, love, attraction, planning your future, fear of that future, friendship, looming adulthood and more and while it may not be hugely original takes on these things coming-of-age films rarely do and are there to give each new generation their own coming-of-age films and not have to rely on ones made forty years previously where no one has a mobile phone.

My Old Ass is a good film and perhaps for someone who the coming-of-age story would be more applicable would enjoy it more. Megan Park and Maisey Stella are definitely people to look out for in the future.

Rating: (3 / 5)

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About I’m Fine (Thanks For Asking)

Recently widowed hairdresser Danny (Kelley Kali) who becomes houseless and convinces her 8-year-old daughter Wes (Wesley Moss) that they are only camping for fun while working to get them off the streets. As Danny works to find permanent housing, Wes grows increasingly tired of weeks in the heat, so her mother promises her that they will go home by the end of the day. With clients lined up, Danny is confident that she will have the final cash she needs to secure an apartment, but a series of mishaps threatens to derail her plans. Under mounting pressure, and with roller skates as her only means of transportation, she has to somehow manage to get the money she needs in order to keep her promise to her daughter.

Also Read: Interview: Ava Vidal Discusses Comedy, Chris Rock’s “Good Hair” & More…

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What’s Going On?

The film focuses on two central characters, child actor Gary Valentine and older, cooler Alana Kane. After meeting at Gary’s high school picture day, Gary becomes besotted with Alana, declaring to his brother he’s met the woman he’s going to marry. Alana insists on friendship, as Gary is fifteen and she is in her twenties, but the two become closer over the course of the film. As well as acting Gary is constantly trying to hustle, always looking for ways to make money and often involving his friends, including Alana, in these schemes. There is not a strong plot to the film with scenes developing for their own purpose and many scenes could be removed entirely without affecting the story.

Behind The Scenes

The film is directed by Paul Thomas Anderson, a great director known for Boogie Nights, There Will Be Blood, The Master and more. Whilst not every film of his that I’ve seen has been amazing all of them have been very interesting and enjoyable, with occasional masterpieces like There Will Be Blood popping up every couple of years. The film is also written by Anderson with many of the story elements coming from his friend Gary Goetzman, who had been a child actor and child businessman (or should that be businesschild?). Anderson is on good form with Licorice Pizza, it looks amazing, evoking the time period, with his loose story-telling style you’re not going to get many pivotal and hugely dramatic moments. What could be seen as a hugely important event near the start is just another amusing anecdote that has no purpose other than to show the bond forming between the characters.

In Front of the Camera

The film stars Cooper Hoffman as Gary Valentine and Alana Haim as Alana Kane. Cooper Hoffman is the son of the late Philip Seymour Hoffman, who starred in many of Anderson’s films. Alana Haim is best known as a musician and member of the band Haim, Anderson has directed several of their music videos and so knew Alana well. Cooper Hoffman is perfectly cast as Gary, dorky but with unbelievable confidence and daring bravado. Gary is often an unlikeable character but Cooper also brings out his charm and demonstrates why people like him. Alana Haim is amazing in her role, condescending (often with justification) to Gary and his friends, having blazing rows with every member of her family and featuring the perennial problem of the 20 something – trying to sort their life out. There are numerous cameos – with Bradley Cooper, Tom Waits and Sean Penn having short but memorable parts.

Does It Work?

Licorice Pizza is a great film, especially if you like Paul Thomas Anderson and I do. If you are less a fan of his work then some people could be frustrated by the lack of structure and clear plot, but there’s still plenty to enjoy. The film is very funny – particular stand-outs are the couple who run a Japanese restaurant, the husband American, the wife Japanese and the stunningly bizarre behaviour of the husband. Another great comic moment is Bradley Cooper’s performance as Jon Peters, the slightly unhinged boyfriend of Barbara Streisand, strutting about dressed entirely in white, making insane threats and little sense. Much of the film is spent watching the life of young people and if you are older than the characters you’ll probably think a lot about your own teenage years and/or your 20s and whilst the particular incidents of the film are far removed from much of my life there is a lot that rings true.

Cars and driving are a very prominent feature of this film – much of the time Alana, Gary and assorted others are driving around in a blue convertible, and the importance of who can drive (as many of the characters are still children) is key to their social life. This is underlined even more by the petrol shortage that happens halfway through the film, with cars sitting idle and people queueing for hours at petrol stations. The car-reliant culture of America grinds to a halt and as one character shouts running through lines of cars “it’s the end of the world!”. Oddly enough running is also important – with Alana and Gary often reduced to sprinting through the streets. Where are you going and how are you getting there are important questions for Alana and Gary in many aspects of their life.

The film is often described as a “coming of age” comedy-drama and while in many ways it is, it doesn’t feel like a typical coming of age story. The fifteen-year-old Gary goes to fancy restaurants, has a great deal of money and a life, unlike any teenager I’ve seen. He is also sure of himself and his destiny, convinced he will succeed. He spends so much time acting like an adult and then has extremely childish moments. Despite being older Alana’s story seems more coming of age, she lives with her family (who are played by Alana Haim’s real family), is depressed about her future prospects and wants to “get out”. Like Gary, she gets involved in various careers and business opportunities but while Gary loves the hustle it usually seems like Alana is looking for an actual future.

In one particular scene Gary, Alana and others are caught up in quite a dangerous event, when it is over Gary is ecstatic, Alana is shaken. Gary is of an age where he believes he’s immortal, his opportunities are endless and everything will work out. Alana being older sees things differently, perhaps realising the real danger they were in and what that would mean for her life.

The film didn’t emotionally connect with me as much as it has with other reviewers but has moments of great beauty, comedy and meaning, and thoroughly entertaining throughout. Again, there is the slight caveat that if you’re not a fan of Anderson’s work this probably won’t be the film to change your mind.

Rating: (4 / 5)

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When you have to go through a difficult time all on your own

Shola (Bukky Bakray), nickname Rocks, is a very vivid, creative, and full-of-life young woman who has a great time with her friends. Always cheerful, always getting into minor trouble, and always showing the world her make-up skills. On the outside, seems to be a typical teenager, but underneath her bubbly personality, there’s also sadness and pain. After her mother’s sudden departure, she needs to care for herself and her little brother Emmanuel (D’angelou Osei Kissiedu). Paying bills and getting food on the table becomes extremely difficult for Rocks, even with the little money her mum left her.

She’s doing her best: attending school, not getting into trouble anymore, and being there for her brother. There’s just one thing. She’s afraid of showing her emotions to her friends, and therefore, she has to face this massive burden alone. When this is starting to pressure her friendships, it’s all becoming too much for Rocks. Right when she thought she had seen the worst, people turn up on her doorstep, and they’re not coming to socialize.

A first-class ensemble brings a lot of authenticity to this movie

During the Dublin International Film Festival, “Rocks” won the Best Ensemble award, and it’s that stunning ensemble that keeps this movie going. The performances of the overall cast are poignant, beautiful, and right from the heart. Because of the acting, you feel that you’re watching a real-life documentary instead of a movie. Every time Bakray appears on the screen, she will either make you laugh or cry.

Her performance is compelling and brings out that fighting spirit of “Rocks”. The on-screen chemistry between her and Kissiedu, who also deserves credit for his adorable and emotional performance, is such a wonderful one to see. The girls are all together in most scenes, but Bakray has the most time together with Kosar Ali, who’s playing the hip-hop loving Sumaya. Ali is such a delight to see, both her performance as the upbeat Sumaya and the more emotional young woman. However, again, congratulations to the entire cast of this movie!

There’s also a very high element of authenticity connected to this movie. The slang that the friends use, the secrets handshakes, and the entertaining classes are beautifully interwoven in the story. It feels like we’re back in school again. When seeing places like Rio Cinema and London’s landscape view, we’re out there on the streets, side-by-side with the girls. Also, the fact that every girl is different in her unique way is so refreshing to watch. No matter what class they’re from or which god they believe in, they’re friends who take each other for who they’re.

A must-see gorgeous and moving film

Rocks was already part of film festivals such as the BFI London Film Festival and FilmBath Festival and is now getting a nationwide UK release. Not only because it proves that the film industry is slowly getting back up again but also because it will give you the chance to see this truth-full, emotional, and beautiful movie.

Rating: (4 / 5)

Rocks is released in the U.K. on the 18th of September

Also Read: Underrated Movies: Ma

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“The middle class were invented to give the poor hope; the poor, to make the rich feel special; the rich, to humble the middle class.” 
―Mokokoma Mokhonoana

Class – it could be argued that it is still as divisive a topic now as it was 100 years ago. Although there have been momentous breakdowns in barriers, there is still an evident divide between those who have and those who have not.

It is felt evidently in everyday life; the current political climate only goes to show that there is a whole societal group who have felt unheard and ignored. While at ground level, teenagers from working-class backgrounds feel they are not worthy of places at the top educational establishments such as Oxford and Cambridge. They don’t really help themselves in this perception, with 80% of offers still going to those from the most privileged backgrounds.

People often have a skewed perception of those in a ‘class’ outside of their own. People who consider themselves ‘working-class’ often see the more affluent members of society as out of touch snobs. While the upper classes can still look down on those in a much lower socio-economic bracket to themselves; It is important to realise what role the mainstream media has in perpetuating these stereotypes. To see classism in all its glory, you only need to indulge in daytime television.

The Jeremy Kyle Show. It’s air time of 9.25am would make it seem like family friendly viewing. However, just watching one episode will show you a patronising host who sneers at those who cannot get their point across as eloquently as he deems suitable and an audience that revel in the mockery. It’s hardly a healthy starting point for breaking down class divides.

Surely film can offer a more diverse level of representation? That depends entirely on who you ask. Although most offerings have a very limited, primarily white, depiction of class divides, there are still those films which will be analysed and debated for years to come. Sadly, it is often for their realism.

This is England

Shane Meadows’ This is England is now studied at A-level, degree and Masters level. And rightly so. Based a great deal on his own adolescent experience, Meadows is perfectly able to present the multi-faceted aspects of working-class life. Even Combo, the violent, racist thug is shown to be a juxtaposition of the aggressive rhetoric he preaches during brief moments of vulnerability.

This is England sees Shaun Fields (a thinly veiled pseudonym for Shane Meadows) desperately craving a sense of belonging while the death of his father leaves him vulnerable to negative male role models. This microcosm is set within the bigger picture of a town ravaged by the reign of Thatcher, something that many towns – including my own – have never fully recovered from.

While showing the Skinhead subculture in a more favourable light than it had often been presented, Meadows also highlights the bubbling racist undercurrent that was taking hold in these forgotten towns and cities. It is impossible to ignore how pertinent this theme is when we are now leaving the EU because we are apparently overrun with outsiders stealing our jobs and the American President is still hell-bent on building his wall. The agonising scene of Combo beating Milky, the only black character, almost to death while hurling racist slurs is even more uncomfortable due to the fact that this is still happening. While Combo represents a small, albeit dangerous, group there is also a definite sense of community in This Is England; social mobility is resisted rather than strived for. Shaun’s growth and understanding is the primary focus but Meadows does not shy away from how his social class influences this journey.

“While both are about people living in poverty, Loach is didactic, and even propagandist, in a way that Meadows rarely is. His politics can be found not in a straightforward message, but rather in his sympathetic, complex, rounded view of working class lives.” – David Buckingham, This is England: Growing up in Thatcher’s Britain

I, Daniel Blake

I, Daniel Blake is a film that stays with you long after you’ve watched it. Ken Loach’s most successful film at the box office presents social realism at its most harrowing and makes no apologies for it. The idea that it was an example of propaganda was felt by Ian Duncan Smith, the former Conservative Work and Pensions Secretary. This was the same person who was “looking to make it harder for sick and disabled people to claim benefits” according to leaked documents.

The fact that this politician was able to claim that this film was an unfair representation of the reality shows just how out of touch he is. Food Bank usage has gone up by 13% between April and September in 2018, with the Trussell Trust’s food bank network providing 658,048 emergency supplies to people in crisis.

Daniel Blake is approaching his 60s and has been deemed unfit to work by his doctor, yet he is forced to go through an uncompromising and often demeaning social system which forces him to look for work. The desperate lengths that both Daniel and single mother Katie are driven to are unbelievable, upsetting and disgraceful. While this is a work of fiction, I, Daniel Blake portrays the everyday reality for many people living in poverty. It is by no means an easy watch but it is a necessary one.

Boundaries

While these are two productions offer an insight into social class in Britain, they can not be seen as sweeping generalisations, much like Downton Abbey cannot be the one true depiction of the wealthy members of society. However, with nepotism still being a huge issue within the film industry, it is unlikely that we will see a more varied, colourful spectrum of experiences until people from those backgrounds are given the opportunity to share them.

Many, more uplifting stories, are out there but have to rely on the support of established film industry members to reach a mainstream audience. Fighting With My Family is just one example. Written and directed by Stephen Merchant, he discussed the theme of social class in this article with The Guardian.

With social mobility still stagnating in the film industry, with just 12.4% of people asked in a study being from working-class backgrounds, surely we need to demolish these outdated barriers. Perhaps primarily gritty representations of working-class life are hindering more than helping?

Also Read: War Films: Horror and Glory

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