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As we proceed to the second half of the film, we start to see and hear echoes from the first. Yet there is an exhilaration in how the film is put together, with its economical style that dispenses with all but the most essential scenes and situations. Once a successful comedy director, Shin Seung-soo's latest works haven't attracted audiences, often silently lurking at the bottom of the year's box office.
There's always a good hybrid between sympathetic characters and a slight detachment which allows us to see things more clearly. What struck me most about the depiction of Jang's tragically-imagined life was the director's tendency towards romanticism, in his seeming desire to present the artist as a Korean Byron or Liszt. Both the murders and the jokes are pretty graphic in their depiction, and the lack of sympathetic characters might leave people used to director Kang's directorial style a bit puzzled. Adam Hartzell A Perfect Match One of the most important consequences of the current boom in Korean Cinema is the emergence of female directors.
Chung explains how a filmmaking sensibility rooted in the South Korean market and the global style of Hollywood could have been viable in the North. Perhaps, this resistance to American pop culture is why Han's looking for Bruce Lee, to find his own way of appropriating cultural artforms that came to his home from elsewhere.
What seems on the surface to be a depressing tale of squalor is actually one of the most amazing films Korea has produced in years, a triumph for Lee and his cast. In this sense the finished product has not been what people were expecting, but it is nonetheless an entertaining, visceral treat. Films like Saulabi are the reason I've since tossed that rule aside. Over The Rainbow seems to admit its flaws right from the start. The market's opening to Hollywood films and the social changes which led to the diversification and surprising commercial strenght of contemporary Korean films.
Hong's latest film provides an interesting mix of popular and arthouse sensibilities, and internationally, too, it is likely to attract wider audiences than his previous films. Ju begins pondering the principles of Taoism, through which he acquires a plastic gun which can blow car-sized holes in the sides of buildings. The incorporation of the Korean Peninsula into the global Cold War order, Hughes argues, must be understood through the politics of the visual.
The idea behind the project gets high marks for innovation and daring. The movie wants to present a theme. Kang Woo-suk has made a darker, funnier and smarter film, one of the year's biggest surprises. This is not something unique about Koreans, but an absence of use that is unique about Americans.
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