Much like Shoplifters, which centred on a makeshift family, Broker too sees a surrogate group form. So-young joins her two male companions in trying to sell on her child, persuaded that it’s much easier when the biological mother is present.

There are plenty of secrets revealed along the way, with Koreeda leaning unashamedly towards melodrama. This makes it one of his more accessible films, a gentle, sentimental ride symbolised by the Ferris wheel trip taken by Sang-hyun and Hae-jin, the little orphan who joins this curious collective (and spends most of the film chattering about his dreams of playing football).

Whether it’s the strains of Aimee Mann’s Wise Up floating from a car stereo or a tourist bus trip taken when the action moves to Incheon, Kore-eda hand-holds all the way, mopping our brow continuously.

There’s little to suggest these characters are doing anything wrong – one of the film’s more misjudged elements – with time even for a debate on the merits of adoption over terminating pregnancies.

At its heart, Broker is another nuanced character study.