Broker trailer: After receiving praise for his work in Parasite, Song Kang-ho won the prestigious Best Actor award for his work in this film. This is Kore-first media’s foray into Korean cinema, and it’s also notable because he puts together a fantastic new ensemble cast in a refreshingly different setting.
Adoptees and the baby box system, whereby strangers can anonymously leave children for the care of others, are central to the plot of this film. It claims to take a sincere, emotional, and forthright stance on a controversial issue.
IU, a Korean pop star best known for her role in the critically acclaimed K-drama My Mister, plays a single mother who has second thoughts about leaving her child with the titular baby ‘brokers’ (Song and Gang Dong-won) and returns to reclaim him.
Despite being pursued by two police detectives, the unlikely trio embarks on a touching road trip, where they clash and, in classic Kore-eda fashion, bond in the most peculiar ways (Bae Doona and Lee Joo-young).
The trailer shows that the movie has a variety of moods, from lighthearted comedy to more serious moments, all of which center on family. Without giving too much away, the trailer gives viewers a taste of the film’s more intense emotional beats as they eagerly anticipate the film’s other plot twists.
The trailer highlights Neon’s previous marketing for the global phenomenon Parasite, highlighting the work of director Song and cinematographer Hong Kyung-PO by showcasing stunning shots of the Korean countryside.
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‘Broker’ Film Review:
Filmmakers who are fortunate enough to take home the Palme d’Or may find it to be both a boon and a bane, a gold-plated sword of Damocles hanging over their heads. Following the euphoria of their success and the completion of their year-long victory lap, filmmakers are left with the unsettling question, “What now?”
The film of director Hirokazu Kore-Eda is an excellent illustration of the pitfalls that can arise when attempting to answer that question. In many respects, his victory for “Shoplifters” in 2018 demonstrated the system’s efficacy. Kore-eda was no stranger to the Cannes Film Festival; he directed a mature piece that expanded and refined earlier themes, taking viewers on a winding path to an intense emotional payoff. He was due it.
Image Source: slant magazine
Even if the crowning gave the Japanese director some new opportunities, it didn’t bring him any particularly fresh perspectives. Now, in this year’s Cannes competition titled “Broker,” Kore-eda reunites with some of South Korea’s most famous stars after transplanting his model to a French setting in his previous film, which was fine but not particularly memorable. Another fine, if not particularly memorable, Kore-eda joint that covers all the same ground but in a different language, the film also finds him on repeat.
Questions of nature versus nurture and what makes a family are the director’s bread and butter, but “Broker” seems to follow a similar trajectory as “Shoplifters” as it, too, centers a dysfunctional family on a band of small-time (but essentially good-hearted) criminals.
“Broker” begins with ex-con Sang-Hyun (Song Kang-ho) and his younger buddy Dong-soo (Gang Dong-won) rescuing a baby from a no-questions-asked deposit box intended for mothers in dire straits, whereas the earlier film began with the makeshift family together before pulling them apart. So-young (Lee Ji-Eun), a mother with a troubled past (and a troubled present), drops off her son with a note saying she’ll be back soon. Mistaken, as the existence of that note now prevents the child from being adopted.
The two men set out to find potential buyers, er, adoptive parents, for no other reason than to find a home for the child and, perhaps, the possibility of a large payout for brokering the deal. They don’t count on So-young returning, not to reclaim her child, but to join in on the action. The unconventional family unit might learn to behave as such as they travel down the Korean coast after picking up a bright orphan along the way.
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