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Shoplifters (Manbiki kazoku)
A family of small-time crooks take in a child they find outside in the cold.

















August 5, 1966 in Tokyo, Japan





October 1, 1990 in Tokyo, Japan



12 November 1987, Kumamoto, Japan





September 22, 1967 in Kanagawa, Japan

18 September 1990, Nagoya, Aichi, Japan


February 28, 1948 in Niigata, Japan


18 February 1986, Tokyo, Japan





29 March 1961, Shinjuku, Tokyo, Japan




15 January 1943, Tokyo, Japan


February 27, 2019
This near masterpiece made me think for long periods of time, meaning that its message and purpose were conveyed with a glorious sense of accomplishment.
February 27, 2019
Lily Franky's performance is a grab bag of little quirks and maladies.
February 20, 2019
Hirokazu aims to make us reflect over the significance of family in society. [Full Review in Spanish]
March 01, 2019
A work of deep humanity. You walk away breathless.
December 20, 2018
Kore-eda is at his best when he's suppressing his sentimentality, not when he's indulging it, but like his characters, fans of this inspired filmmaker must learn to take the good with the bad.
March 01, 2019
Shoplifters shines attention on two phenomena eroding Japan's social foundation: underemployment and gentrification. Most people have jobs, but they're menial and low-paying.
December 20, 2018
It's all beautifully done, if seemingly aimless; for most of its two-hour runtime, the joy of the movie lies mostly in watching these fine actors build their beautifully flawed and lived-in characters.
December 20, 2018
Kore-eda marshals his considerable talents to tell what initially appears to be another story of family love and perseverance in the margins of society.
February 28, 2019
A masterly piece from an auteur who is clearly in a state of grace. [Full Review in Spanish]
December 20, 2018
This kind of subtle richness is not new for Kore-Eda, though it's as satisfying here as it's ever been.
December 20, 2018
Shoplifters is littered with wry humor and is refreshingly free of judgment.
January 04, 2019
Writer-director Hirokazu Kore-eda fills the film with grace notes, humor and fine observations, circling and filling out each character while leaning more on innocence than corruption.