Hirokazu Koreeda, a prominent figure in contemporary Japanese cinema for three decades, known for his consistent creativity and achievements, including the Palme d'Or for "Shoplifters" (2018), ventures into science fiction with his 17th film, "Sheep in the Box". This project, his 10th to compete at the Cannes Film Festival, revisits his signature theme: human suffering in the face of loss. The film, released domestically on 3/7 and suitable for viewers aged 13 and above, challenges the notion that artificial intelligence can truly mend emotional voids.

Trailer "Sheep in the Box" (The day I lived again), released domestically on 3/7. The film is suitable for viewers aged 13 and above (13+). Video: Aeon Beta

The story centers on Kensuke (Daigo Yamamoto) and Otone (Haruka Ayase), a middle-class Japanese couple struggling to maintain a normal life after the tragic death of their only child in an accident. Their buried grief resurfaces when they encounter an advertisement for a company offering to recreate deceased loved ones using generative AI technology. Otone embraces the prospect with enthusiasm, while Kensuke dismisses it as merely "a vacuum cleaner". However, to comfort his distraught wife, he agrees. Soon, a humanoid robot boy, an exact replica of their lost son, Kakeru (Rimu Kuwaki), arrives at their home.

Kakeru, the robot, is endearing, obedient, and perceptive, consistently pleasing Otone and attempting to bond with Kensuke, who maintains a cautious distance, referring to him as "uncle". Yet, the robot's presence inadvertently reopens the couple's deep-seated emotional wounds. Otone grapples with overwhelming guilt over her son's death, while Kensuke confesses his regret for missing the pick-up, a lapse that led to the tragedy. In a desperate attempt, Kensuke takes the robot to the accident scene, hoping it might recall or reveal clues about the perpetrator. What initially appears to be a path to healing transforms into a grim reality, as the machine becomes a mirror reflecting their deepest obsessions and unfulfilled desires.

The film unfolds with Koreeda's characteristic slow and quiet pacing, mirroring his approach to depicting profound grief. A pivotal moment occurs near the conclusion when Otone declares to Kakeru that she is the true "sheep in the box". This statement alludes to Antoine de Saint-Exupery's classic, "The Little Prince", where the pilot draws a box and tells the Little Prince, "The sheep you want is inside this box," immediately satisfying him. This renowned literary metaphor highlights the power of imagination over literal representation.

Initially, the robot in "Sheep in the Box" functions like the Little Prince's metaphorical sheep, accepted by Otone as her real son despite not being the original Kakeru. The robot's unnerving capability to generate false memories and emotional responses based on data about the deceased allows it to learn and adapt, becoming the child through observation. However, Koreeda subverts this metaphor in the film's climax: the one truly confined "in the box" is not the robot, but Otone, trapped by her own sorrow.

A scene from "Sheep in the Box". Photo: GAGA

Throughout his career, Koreeda has consistently explored themes of individuals unable to move past pain or loss. His earlier works, such as "After Life" (1998), depict the deceased lingering between worlds, while "Still Walking" (2008) shows a family caught in the perpetual grief of an anniversary. In these films, Koreeda often portrays invisible "boxes" – not physical prisons, but rather memories, family bonds, guilt, and love – which both protect and confine his characters.

In "Sheep in the Box", Otone eventually recognizes that the robot is not Kakeru. Yet, this realization does not diminish her affection for it. Her ultimate acknowledgment is not about the robot's identity, but about her own need to release the past and find liberation from her pain. This narrative arc, utilizing science fiction to explore loss, memory, and healing, is a familiar signature in Koreeda's filmmaking.

Despite its intriguing premise, the film's most significant limitation, and a reason for its lukewarm reception from international critics, is its insufficient exploration of psychological conflict. The narrative does not delve deeply enough to fully exploit the profound themes it introduces.

Koreeda's career can be divided into three distinct creative phases. His early period, encompassing films like "Maborosi", "After Life", and "Nobody Knows", featured a minimalist storytelling style focused on death and memory. His mature phase, from "Still Walking" to "Shoplifters", centered on family themes, enriched with emotion and resonant everyday conflicts. In recent years, the director has broadened his creative horizons, evident in "Broker", a collaboration with a Korean team; "Monster", which experimented with multi-perspective narratives; and "Sheep in the Box", marking his venture into science fiction.

It is commendable for a director over 60 years old to continuously seek new cinematic expressions. However, science fiction, particularly when intertwined with generative AI, demands more than just an engaging concept. This genre inherently raises fundamental questions about identity and humanity. Without deeper exploration, these profound issues remain mere narrative devices. Beyond its inversion of "The Little Prince" metaphor, "Sheep in the Box" falls short in exploring these deeper layers of meaning.

Director Hirokazu Koreeda working with child actor Rimu Kuwaki on the set of "Sheep in the Box". Photo: GAGA

Compared to films like Steven Spielberg's "A.I. Artificial Intelligence" (2001) or Kogonada's "After Yang" (2021), which rigorously interrogate the boundaries between humans and machines, Koreeda's work in this genre is somewhat restrained in pushing philosophical questions to their ultimate conclusions. While some acclaimed directors tend to repeat their successes, Koreeda actively seeks new challenges. "Sheep in the Box" may not be his most successful endeavor, but it stands as a testament to the director's courage in experimenting with a new genre and exploring novel storytelling approaches.

Le Hong Lam