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If the movie was exceptional in some way, it may participate in a film festival before or after its general theatrical release. They are often accused of harboring vulgar and perverse qualities unbecoming their formal resplendence and aesthetic sophistication. More out of frustration than anything else, he takes up boxing. Hyun is persistent, however, and soon their relationship enters a new phase. Part of the film's attraction comes from the thrill of anticipating when Jeong-hye will break from her routine and reveal her inner turmoil.
While staying on a remote southern island off Jeju-do, he and his girlfriend of the time agreed to come back and meet at the same motel exactly ten years in the future. Director Lee Yoon-ki shows a commendable discipline in keeping his hands largely invisible. This unique path can be credited to the strength of the simple plot and the story-telling technique that leaves the viewer doubting what we know to be true.
According to traditional shamanist beliefs, chicken blood is supposed to provide some protection against malevolent spirits. Hong's use of vibrant colors and sounds to accompany otherwise discomforting scenes underscores the pleasure in the pain that his characters seem to endlessly repeat. The final section focuses again on Geum-ja and what I would have to call the spiritual aftermath of her revenge against Mr. One is that such a low-budget film looks so good visually.
It is a completely fictitious tale told in the style of a serious documentary. From our teenage years to our twenties, our bodies allow for greater physical creativity since we possess greater energy and flexibility. The detective's reunion with Geum-ja is depicted with progressively rapid cross-cutting, a virtuoso manipulation of images. The question and answer session with the director and lead actors that was held after the showing went on for much longer than anyone was accustomed to.
For the past seven years he has served his gangster boss with unflinching exactitude. The scene is also a fitting reflection of how face-saving and self-interest lie just beneath the surface of society's debates over morality. Sure enough, his next two features, No Blood No Tears and Arahan were more obviously structured around genre cinema, though he dissected and blended genre archetypes in fascinating ways.
We get a strong sense of the aimlessness and desperation he feels, but this also makes the middle sections of the film somewhat tiring to watch. Yet in the chaos that follows the shooting, we gradually realize that Kim Jae-gyu's ambition to transform Korean history is up against forces more powerful than the slain dictator. Three cheers to Im Sang-soo. First we are shown the man's skill with the bow, then we see how the girl's spatial knowledge of the boat and archery skills can serve as a second layer of defense. It demonstrates how easily something that is completely false can be built up on the flimsiest of evidence to become what seems to be true.
The result is usually more confusion, not less, on the part of the viewers. Lee So-yeon makes her slightly thin character memorable through considerable screen presence, while Jang Hyun-seong of independent films Nabi and Rewind gives the performance of his career. When will you stop fooling around and make something serious, they seemed to be asking.
Rules of Dating is a gutsy film, very funny with nasty undertones in that regard perhaps closer to a Hong Sang-soo film in spirit than the aforementioned Jealousy Is My Middle Name. It is no mean feat to capture the characters in intimate, unguarded moments with handheld camera but to keep the stance non-intrusive, which is what Lee accomplishes here. In Song's other works, such elements sometimes feel forced or self-consciously arty, but here they blend with the otherworldly presence of the island and add a sense of mystery. They are listed in the order of their release.
Although it did open in the number two seat slightly behind Another Public Enemy, word of mouth soon launched it into the number one position during its second week. Few people listened to Ryoo's protests that he was, at heart, a genre filmmaker. Every sentence uttered by Baek resonates beyond its immediate context, and his actions embody a prototype that reappears in many guises throughout history. And finally, I love the ending, even if I can't speak about it here. She aspires to direct an in-line skating video, so she follows these boys with camera in hands and skates on feet, just like Spike Jonze did before he got into John Malkovich's head.
Many have viewed Last Bang as a bit of character assassination aimed at the late President Park. This is what I think the movie is asking.
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