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The plot development leading to Jeong-hye's confrontation with the source of her trauma is one of the film's few obvious weaknesses, even though the sequence in question features another terrific performance by Lee Dae-yeon Camel sthe psychiatrist in A Tale of Two Sisters and a breathtaking long take inside a lady's restroom, showcasing Kim's tour de force performance.
His performance is worthy of the considerable praise that has been heaped on it. When Park is on top of his myriad tools of cinematic expression, the results have always been breathtaking and it is no exception here. The film score similarly presents contradictions, such as the hopeful melody that highlights the hopeless scene that ends the first half of this film.
Jo convincingly becomes Cho-won, a young man born with autism.
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The end result is a visually stylish, cool film that is both very commercial even though it underperformed in both Korea and Japanand also complex enough to make it hard to pin down.
When the film slides from objective reality into Jeong-hye's subjective vision limited to the daydream visitations of her mother, played by veteran actress Kim Hye-ok [Green Chair, Our Twisted Hero]the transition is so natural that we do not even question whether she is experiencing a flashback, visualizing a wish, or seeing a ghost.
Moreover, performances of the theatrically trained actors here are truly excellent. To explain the film's strengths without spoiling its content is difficult.
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Not only does she not break the rhythm of her performance against extreme long takes and close ups, that reveal minute abrasions and scars in her face, she also makes Jeong-hye absolutely believable in her hesitation and withdrawal, without making her neurotic or eccentric. In-line skaters of The Aggressives variety can read cities similarly to skateboarders.
Hyong-su's former classmates are meeting up for dinner to collect money to cover Hyong-su's hospital costs. Although Korea has changed beyond recognition in the 25 years since Kim Jae-gyu pulled the trigger, Park's legacy remains an unresolved question for much of the Korean populace.
The footage -- Romantic cinema dating games of anti-government protests shown at the Romantic cinema dating games opening, and images from Park's funeral that Best clubs to hook up in los angeles the end credits -- were important to the overall work, and the four minutes of black screen which appear in their place leave the audience with an altogether different viewing experience.
Ryoo's portrayal of Sang-hwan which incidentally is the same name of the characters he played in Arahan and Die Bad is a perfect embodiment of caged fury. One day his life is turned upside down, and like Tae-shik, he reaches the nadir of his existence.
Towards the end of the film, we are shown the depths of the villagers' panic in a scene where at least five real-life chickens get their heads chopped off in gory closeups no time to close your eyes -- it's upon you in an instant.
When he approaches Hong and plays "cute," with Park's patrician voice now stickily rolling off his tongue like golf balls greased in a vat of K-Y Jelly, you will be both laughing until your sides hurt and resisting the urge to throw up.
As color slowly starts to bleed into the frame, we hear a voiceover by the main character Sun-woo: However, even that knowledge did not stop people from asking each other if any part of it was real when the credits rolled.
While he had directed a couple of short films prior to Marathon, the last being inJeong had more recently worked as an editor for the film Three and as an art director for Wonderful Days.
And the movie appears to ultimately hedge its bets regarding the possibility of a real romance brewing out of such politically and emotionally charged set-ups, involving sexual abuse, invasion of privacy and manipulation of ethics codes. An observant reader on the Koreanfilm.
Even though Lady Vengeance is more leisurely paced and "gentler," still only in a Park Chan-wook film do we get not only a dog with a human face a la the Phil Kaufman Invasion of the Body Snatchers but also a bullet entering the dog's brow and exiting through his, ah, terminal organ.
Red Shoes has one of these groan-inducing, utterly redundant Final Twists, revealed a good five minutes after the film's emotional climax has been reached.
Voice, in its own unassuming way, is an earnest reflection on the terrors and sorrows of the teenagers faced with the overwhelming mystery of Death.
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. Writer Lavina Melwani described a happy marriage which had been arranged by the bride's father, and noted that during the engagement, the woman was allowed to go out with him before they were married on only one occasion; the couple married and found happiness.
On the other hand, Kim Hye-su's fans will be pleased, as Sun-jae's character is an excellent showcase for her acting chops, far more so than Hypnotized, where she faced an uphill battle against her electric-storm hairdo.
Although not my favorite Hong film I still go back and forth between The Power of Kangwon Province and Turning Gatethis film will still satisfy any Hong fan and annoy any Hong detractor.
Her face in one scene occupies a small patch in the right-side frame:
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