Sobre o “Shoplifters” do Kore-eda – que me deixou relativamente indiferente, talvez pela repetição, melhor, redundância do filme no conjunto da sua obra, talvez pelo visível esforço “de efeito” (há uma certa auto-consciência de uma “pose” que está ganha junto do espectador praticamente à partida em virtude do universo humano que é captado: os rostos bondosos, cândidos, as expressões, os gestos), tudo coisas que talvez se condensem simbolicamente na circunstância de, nas prime...iras cenas do filme, o “pai” se queixar constantemente do frio e o espectador, na verdade, nunca o sentir, problema de mise-en-scène, da mais sofisticada (a iluminação, todo um regulador “térmico”) à mais elementar (traduzida no facto de as personagens não estarem por demais agasalhadas ou, simplesmente, não andarem em passo rápido na rua como normalmente se anda quando se tirita de frio, pelo contrário fumando, calmamente, nos passeios) –,
[fim deste inadmissivelmente longo parêntesis]
o que de mais determinante e poderoso entrevejo é mais ou menos isto que escrevi a propósito de alguns filmes que vi no ano passado em Locarno:
"At the end of the day, and after all the contemporary transformations that the notion of “parenthood” has undergone, the surviving theme is that love conquers all. That is what the powerful last scene in the Brazilian horror movie 'The Good Manners' tells us, in which Clara (Isabél Zuaa) tells her son, who is a werewolf, that she will not let him spend another hungry night just when the bloodthirsty mob is already on the other side of the door and ready to violate their family intimacy. Again, at the end of the day, it’s always this: a mother and a son together against the rest of the world. An unbreakable love bond resisting everything.
The fact that the bond which binds this mother and child has no biological nature only proves what is really fundamental here: that any idea of ”family” can only be based on affection and gestures of love, and, for that reason, the blood ties (and there is a lot of blood in “The Good Manners” exchanged between the characters) or other conventional representations of “parenthood” are nothing but artificial barriers that ultimately prevent us from loving others.
From another point of view, it is also to this idea that Travis Wilkerson points out in his impressive documentary “Did You Wonder Who Fired the Gun?,” in which the director himself undertakes an intimate and investigate journey on his racist, tyrannical, misogynist great-grandfather’s killing of a black man in the 1940s, as well as the current role of his aunt in an American white supremacist movement. What binds Wilkerson, a humanist, to his great-grandfather and his aunt? Just pure DNA. There is no love there; they’re his “family” only in the loosest sense".
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