By Roger Costa
THE THIRD MURDER
For the past two decades, Japanese director Hirokazu Koreeda has been examining family topics and issues, sensible stories about deep feelings centered on the family cycle that captivated audiences and critics alike, making him one of the most accomplished Japanese filmmakers, gaining a deserved title of “master of the inner emotions”.
In his latest production, he unexpectedly delves into violence and crime with such commitment, as he investigates the scandalous murder of a factory tycoon, killed by his employee, and the disturbing connections both shared, along with wife and daughter.
Koreeda causes the impression he’s moving forward a different perspective, shaping his aesthetic into a more Western language (which includes embracing the manifestation of reckless violence) as the screenplay fully digs up the crime investigation, while observing the main players’ motives and moves. The director states he’s interested in intriguing and shocking the viewer, as the film opens with the gore, brutal crime taking place in an abandoned area, and introduces the center figures: the killer waiting for his judgment in jail, his defense lawyer, and the victim’s teen daughter.
As a master of outstanding filmmaking, Koreeda narrates the story with his usual sensibility and accuracy, despite the violent context, the investigation and interactions still demonstrate the director’s tasteful details for humane reactions. He just uses the murder and trial as a justification to actually analyze three steps of relationships: the killer and the victim’s wife and daughter, the involvement of the lawyer as a father figure for both sides, and mother and daughter- everyone in conflict while awaiting for the conclusion of investigation and court trial.
The film took in 6 prizes at the Japanese Academy Awards, which three of them went to Koreeda himself (directing, editing, screenwriting) and it also scored a Best Picture nod at Venice.
Hauntingly shot, delicately structured, efficiently thrilling and twisted, delivering fine performances and a powerful, poignant piano score by award-winning Italian composer Ludovico Einaudi, it’s a magnificent crime-puzzle that will keep you hypnotized and guessing till the very end.
(Film Movement. 7/20. Quad Cinemas.)
Comments