Cannes Highlights Hirokazu Kore-eda's New Film 'The Sheep in the Box' Exploring Family in the AI Era

Korean filmmaker Hirokazu Kore-eda, celebrated at Cannes, questions the meaning of family through the coexistence of humans and humanoids in his latest film, 'The Sheep in the Box.' Known for exploring relationships beyond blood ties in works like 'Shoplifters' and 'Monster,' Kore-eda delves into themes of love, loss, and the complexities of living together in this new project.

On June 4, a press screening and conference for 'The Sheep in the Box' took place at Megabox COEX in Gangnam, Seoul. Kore-eda and actress Rimu Kuwaki attended the event to discuss the film.

'The Sheep in the Box' tells the story of a 7-year-old humanoid that enters a household to replace a deceased child, exploring the joy of becoming a family and the anxiety of potential abandonment. This film marks Kore-eda's tenth entry into the Cannes Film Festival, where it has been invited to compete in the official selection.

Kore-eda cited the rise of generative artificial intelligence (AI) as a catalyst for the film's concept. He explained, "The idea for the film came about two years ago. I heard about a business in China that uses generative AI to resurrect deceased individuals. During a work trip to China, I met the founder of this business, who showed me how they create AI representations using photos and videos left on the deceased's phones. This inspired the film's narrative."

Kore-eda expressed curiosity about how audiences would receive the film, stating, "This is not a story where everyone lives happily ever after. It shows the remaining children and the departing adults, who do not know how the humanoid children will live. They will have to imagine and feel what is invisible. I wanted to convey that imagination to the audience."

He emphasized that the relationship between humans and humanoids should not be viewed merely as a conflict between technology and humanity. Instead, he connected it to the dynamics of marriage, noting, "I thought about how difficult and interesting it is for two different beings to coexist. Just as glass and wood can harmonize, I wanted to express the coexistence of humans, plants, and humanoids in various ways. In the film, the mother who lost her child regrets harsh words spoken to her child, while the father regrets things left unsaid. They start as a couple with different regrets but live together in the same box, imagining their lost child, Kakeru. I wanted to convey something through the relationships of these disparate beings."

At the center of the film is Rimu Kuwaki, who was selected from a competitive pool of 200 candidates. Kore-eda shared that he made the casting decision based on his first impression, saying, "I had a gut feeling about this child."

He added, "We held multiple auditions, and the final decision was made with the consensus of the entire staff. The pivotal moment was a scene in the bathhouse towards the end of the film, where she acted alongside Daigo, who plays Kensuke. That performance solidified my decision to cast her."

Kuwaki recalled the moment she learned she got the role, saying, "My family jumped for joy together. My dad, mom, and sister cried a lot. At first, I thought, 'Why are they crying so much?' But later, after my mom explained, I was so happy that I almost cried too."

Kuwaki also praised Kore-eda's directing style, stating, "He told me to act naturally, to be myself. Other directors often give specific instructions, but Kore-eda made it comfortable by saying to just be yourself. He joked that it was okay to do it casually, but I think it was more than that."

Kore-eda explained that he aimed to draw out natural performances from the young actors rather than giving detailed directions. He said, "In fact, there was no directing or instruction regarding the actors' performances. We practiced while Daigo and Kuwaki were conversing and waiting. Ayase also joined in, and when the atmosphere was right, we started filming."

He praised Kuwaki's quick thinking, noting, "She has a rare quality. After the first take, she had the ability to change the mood or dialogue in the second take, showing a playful sense and adaptability. She acted with great enjoyment, which made me feel she was not just a child actor."

Kuwaki's improvisation impressed Kore-eda, who recalled a scene in the bathhouse where she says, 'Please keep it a secret.' He noted, "There’s a line where she asks, 'What should I do?' while teasing her dad, and that was not something I directed. I was surprised she delivered it that way."

In closing, Kuwaki expressed her gratitude, saying, "Thank you for watching 'The Sheep in the Box.' I believe this film is about love. It’s a movie that makes you think and reflect multiple times. I hope you watch it thoughtfully."

Kore-eda also encouraged viewers to imagine the unseen elements of the film, stating, "Movies are made from what is visible, but the unfilmed parts are also important. Just as architecture suggests that the essence lies in the unseen, I was conscious of that while making this film."

He added, "While the film shows various visible elements like forests and instant noodles, I hope you also imagine what is not visible."

Meanwhile, 'The Sheep in the Box' is set to be released in South Korea on June 10.