Kẻ Sát Nhân Thứ 3 The Third Murder (2017)

Hirokazu Kore-eda’s 'The Third Murder' marks a striking departure from his signature humanist family dramas, delving into the intricate landscape of the legal thriller. Yet, rather than presenting a conventional whodunit, Kore-eda crafts a profound philosophical inquiry into the nature of truth and justice within the judicial system.

His cinematic techniques remain exquisitely refined: meticulously framed shots, subtle natural lighting, and a deliberate, almost meditative pace immerse the audience. Masaharu Fukuyama, as the defense attorney Shigemori, delivers a performance imbued with internal weariness, while Koji Yakusho's enigmatic Misumi, constantly shifting his testimony, becomes the unsettling core of moral ambiguity. Suzu Hirose, though with less screen time, powerfully conveys the psychological toll of the crime.

The film transcends its procedural framework, becoming a nuanced deconstruction of how truth is constructed—or deconstructed—by external pressures, prejudices, and individual agendas. Its place in Kore-eda's filmography is significant; it expands his thematic scope, demonstrating that even within the confines of a crime drama, his empathetic voice and exploration of ethical complexities remain paramount. It's a compelling meditation on capital punishment and the fallibility of legal certainty.