The latest film from director Hirokazu Kore-eda, Broker begins with two men Ha Sang-hyeon (Song Kang-ho) and Dong-soo (Gang Dong-won) who volunteer at a local church but are, in secret, baby brokers who sell infants that have anonymously been dropped off in the churches’ “baby box” for unwanted children to adoptive parents directly instead of going through the arduous legal adoption process. One night, young mother Moon Sun-ah (Lee Ji-eun) drops off her young infant son Woo-sung, but surprises the duo by returning later. The three soon journey on a road trip together to find the right couple to sell the child to, but are simultaneously being pursued by detective Soo-jin (Bae Doo-na) and her partner Lee (Lee Joo-young) who have caught onto Dong-soo and Sang-hyeon’s illegal operation, unbeknownst to them.
To say that Broker is a film about family may be stating the obvious a bit, but that doesn’t make the statement any less true or the film any less impactful. As this unlikely clan begin to make their way through South Korea and onto finding a home for Woo-sung, later joined by a young orphan named Hae-jin played hilariously and empathetically by Im Seung-soo, Kore-eda asks the audience contemplate the depth of familial connection and all of its trials and tribulations. As we are shown onscreen, too many people in the world do not have the benefit of being born into stable families and living situations. Often times, their parents had to make tough choices on how best to serve their children and their futures, which may have entailed giving them to others so that they could have a better life. Many of the characters in Broker are dealing with the mental anguish of having had their mothers abandon them, or abandoning their own children, and must come to terms with why such a decision was made. The film takes a nuanced approach to the issue, not answering for the audience, but presenting the why in a way that allows for people to draw their own conclusions. It also forgoes harsh judgement against women who may decide that their children are better off without them, presenting the choice as a form of selflessness as opposed to selfishness. As we learn just what the characters who grew up without a stable family experienced growing up as children, if a parent with an unstable life had the foresight to avoid such a fate for their child, would they be wrong to pursue it?
What’s most striking about Broker is the many boxes it successfully ticks that would seemingly be at odds for most films and filmmakers, but Kore-eda absolutely nails in melding together. The film studies the mindset and emotions of its numerous characters, their life paths, their regrets, hope for the future, fears, and vulnerabilities, without being too dry or methodical. It has the levity and seriousness that is to be expected of a late-year, Oscars hopeful, but missing is any pretentiousness and instead, Broker is filled with relatability and empathy that is delivered through both its raw depiction of family dynamics and its smart comedic elements. The craftsmanship that went into this film is evident throughout particularly through its smart writing. As previously mentioned, its humor is well-executed, with a running joke about the baby’s eyebrows placed perfectly within its story, but the emotional moments allowed to breathe and resonate for as long as needed. And this mix of entertainment value and filmmaking skill perfectly encapsulates what makes Broker such an effective film.
In addition to how Broker is crafted, what makes this film resonate is its dynamic cast and the chemistry they display together. Lee Ji-eun gives a magnificent performance as Moon Sun-ah, displaying the full emotional journey that the character embarks upon, wracked with guilt about her actions and choices, but pushing through toward what she feels would be best for her child. Gang provides the valuable perspective of a former orphan still coming to terms with what he missed out on as a kid with the journey providing a new outlook and catharsis for his life, working toward understanding why his birth mother may have abandoned him. Song is his usual great self as the conscious of the film, a man with a heart and regret for his own parenting failure.
Many Oscar hopefuls hang their hats on how “elevated” their film is, how intricate can you be in depicting its themes, how artful can you be with your camera shots, etc. But as the Academy wonders why these films struggle to impact and attract audiences, what struck me midway through Broker was that it met its audiences down at eye-level, speaking to them in plain but powerful ways about everyday feelings and experiences we all can relate to; the need to feel loved, accepted, part of a collective tribe called family that looks out for each other above all, whether that connection be through blood or choice. And it’s this empathetic take on these issues that connect the film and make an impact on viewers that is set to last. After all, what good is craftsmanship and technical excellence if a film doesn’t make you feel anything? Broker succeeds in stirring up all the right emotions and examining heavy subject matter in an easy to digest and compelling way, making it one of 2022’s best.
Image: NEON
