By Mónica Delgado

Shoplifters carries, in a lesser scandalous and miserabilistic tone, some components that are usually liked by juries, eager for political correctness and attentive to a cinema that reflects the moral and economical poorness that humanity is living. We know that in different film festivals, topics are favored in contrast to aesthetics or formal proposals in cinema. A vastly virtuous, creative, original, or merely asking about the cinematographic language, may be left out of certain value judgments because it doesn’t talk about refugees, femicide, people trafficking of fratricide wars. Thus, the “urgency” is awarded, necessary films that arrive just in the precise moment to soften consciences or put in agenda some news-worthy topics assumed in their mise in scene, appealing to the fake “art-house”.