The definition of family and of what constitutes "normal", or better yet, the limits to which those concepts can be stretched have been Kore-eda'so main themes from the outset of his career, and what has varied most is his tone. What is striking here is the level to which he manages to "reel in" the spectator to feel close to these rather dubious characters as a way to "pull the rug from under them" in the right time. The whole…
Its characters and their surrounding print in such a "close to home" color scheme for us in Brazil right now that it is impossible for one from here to judge it from a distant, strictly cinematically point of view. If not for anything else (and there is a lot), the film would be important just for allowing screen time for some of the little known work of these Sudanese filmmakers in excerpts of films we were maybe never expecting to see again in a big screen. A beautiful chant for the importance of art, film and political action even in the bleakest of times and place.
I it´s a fact that the idea of cinema as creator of its own mythology has always been front and center in Shyamalan´s interests, possibly none of his movies is quite so clear about that as "Glass" - and not only in its themes, but mostly in the way he shoots his characters and allow them (and their actors) to occupy the screen.
Roughly speaking, the film is divided in 3 parts: the introduction "re-places" the characters from "Unbreakable" and…
What moves Jongsu? In the first shot of the film, he is offscreen and all we see is his cigarette´s smoke. In the final shot, there´s also smoke in the background, but now he is front and center. However, do we know him any better at this point? Do we really understand his motives? Or we keep on sharing his sleepwalking and constant despair?
There are clues, no doubt, starting with the most "obvious": his parents' estrangement, caused by/forcing his…