'Parasite's' Song Kang-ho stars in Hirokazu Kore-eda's 'Broker,' a humanistic drama filled with bits of tension, narrative twists and deft reveals, social commentary and moral ambiguity.
) and Dong-soo , their business stealing infants from the Busan Family Church’s “baby box” and selling them for adoption is not just about the money. Far from it.
Sure, Sang-hyeon, who runs a hand laundry, and cohort Dong-soo, who works at said church, could use the dough; times are tight and, on the front burner, Sang-hyeon is in hock to the local mob. But the two also want to be sure to find good, immediate homes for these kids and help prospective parents elude the time-delaying red tape of the country’s complex legal-adoption system. The men have personal reasons as well for their more high-minded approach to this particular criminal ruse: Sang-hyeon is divorced and wants to see families together, while Dong-soo grew up in an orphanage and spots himself in every forgotten child.
Meanwhile, all of this is being observed by a pair of detectives, Soo-jin and Lee , who’ve been working to bust open the underground enterprise. They just need to catch Sang-hyeon and Dong-soo in the act of an actual sale. And like the suspects, Soo-jin has her own personal stake in these children’s fates.There’s certainly enough potential mayhem, desperation and danger here for “Broker” to have become a dark, propulsive action-drama, in another filmmaker’s hands.
That’s not to say this slightly overlong film is without its bits of tension, narrative twists and deft reveals, not to mention injections of social commentary and moral ambiguity.And if the film’s somewhat elliptical conclusion feels more hopeful than real life might have it, by then we’re so sufficiently invested in our ensemble that it’s a stirring way to go out.
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