Talking about Hirokazu Kore-eda's cinema is talking mostly about family relationships. No one like the Japanese filmmaker when it comes to portraying and insisting on the idea that blood families are not always the best. His particular vision of that ecosystem has seduced critics and audiences alike with titles as memorable as Nadie sabe; Still walking; From Like Father, Like Son or A Family Matter, with which he won the Palme d'Or at the Cannes Film Festival in 2018. In Broker, with which he once again opted for the great award at the French contest and participated in the Pearls of San Sebastián, moves to South Korea to tell us a story of abandoned babies, a repentant mother and some child traffickers in search of the best adoptive parents. A road movie based on the phenomenon of 'baby boxes' -mailboxes where unwanted babies are left-, in which the veteran Japanese director once again exudes humanism and emotion.
When was the first time you heard about 'baby boxes' and why did you feel the need to explain this story?
It will be about ten years ago, when I was shooting my movie Like Father, Like Son. At that time it was news in Japan that this mailbox system had been created to deposit abandoned babies. The reaction of the press and public opinion was very negative, they said that it was a shame that something like this existed and the memory of that stayed with me because it had a lot of media coverage. At the time, it didn't occur to me to make a film about it, but a few years later, when I was at the Busan festival, they asked me about family-related issues that were current in Japan and I told them about it. Then they told me that in Korea there were many mailboxes for babies, which was very popular. From there the idea of making a film arose. Right now, in Japan, opinion is equal between those who support it and those who don't.
The United States has also begun to use this type of mailbox. What do you think of the fact that it is a system that is spreading throughout the world?
Of course, I would like to have a society where these kinds of things are not necessary. But the truth is that there are women who have children who cannot raise them and leave them out there or even kill them. From that point of view I believe that, unfortunately, it is a system that is necessary in our current society.
The inspector says very clearly that if you are going to have a child and abandon it, don't have it for that
It is not that the film wants to give a specific message about whether it is good or bad. What I was interested in reflecting on is how the character of the policewoman, through this story, can change her opinion on the subject. And in a parallel way also the public, which perhaps does not have a clear opinion.
Where does this interest in the family come from? Are you going to continue exploring the topic or do you think you have exhausted it?
What is certain is that this film has in common with A Family Matter that it is made up of people who are not related by blood. In both Japan and South Korea there is still a lot of attachment to the traditional family, but it seems to me that in today's society this is increasingly detached from reality. We see it on a daily basis, since there are people who live together without being married. There is no blood relationship like before. We are seeing more and more single-parent families and I think it is a topic that my gaze naturally goes to and that is why I am interested in reflecting on it. I'm not tired yet.
Was it your intention that the main character, played by Song Kang-ho, being a child trafficker be liked so well by the public and become fond of him?
From the beginning I never intended for it to be like this. Song Kang-ho has a very curious way of interpreting that combines the positive with the negative, the good with the bad at the same time... Without a doubt, seen from a distance, this character is a criminal, he is a person who sells babies . But once you get in the car with him and you're next to him, it seems to you that it's not so bad. And I was very interested in this contrast. I think only an actor like him could play that role.
In Broker there is social drama, police thriller, road movie, comedy, how do you balance between so many genres?
In general, all my films are not raised from the point of view that they belong to one or another genre. This time it is more the story of a trip and perhaps in that sense it is closer to a road movie, but I have simply tried to reflect the relationships between a series of people. And since the subject is quite sad, from time to time a little comedy was needed.
How has it been working in South Korea?
Working there was very comfortable because the maximum number of hours that can be worked per day or week is very determined, something that does not happen in Japan. The only actress I knew from before is Bae Doona, the policewoman, who I worked with ten years ago, and I wanted to collaborate with her again.
He filmed in France with La Verdad and with Broker he moved to South Korea. Do you want to continue exploring other countries?
As a director they have been very interesting experiences. I've learned a lot and I don't have the slightest problem accepting another project if it comes to me from outside.
How is the situation of movie theaters in Japan? Are you worried about the crisis in the sector?
In Japan, small theaters that show independent productions are in danger. Compared to the times when I started, more than 30 years ago, they have been reduced by half, especially in the provinces. In Tokyo the situation is still not so bad. The big problem in my country, I don't know if something is being done in Europe to prevent the disappearance of these cinemas, is that neither the production companies nor the distributors see it as a real problem.
What do you know about Spanish cinema? Do you have a favorite director?
When I was a student I really liked The Spirit of the Beehive and The South, by Víctor Erice, which were a great discovery and I heard that he is about to make a new film and I would be very interested in seeing it. When his movies came out on video in Japan I bought them; then I also bought them on DVD. Now I have bought the pack on Blu-ray again. I have a full shelf.
