But Young-shin's character is the least compelling, and with only one screening I can't say particularly why, but I just know I think about her less. 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. Perhaps the most interesting part of Green Chair is its bizarre cocktail party resolution. Unfortunately, Cello is almost stupifyingly dull. Suddenly, he feels just as confused about relationships as his brother Gwang-sik. The movie could have gone on to explore either the emotionally complex relationship between the sisters in a horror context, losing its fanciful Final Twist in the process, as in Bergman's Cries and Whispers (which I consider to be a horror film of the first. Kyeong-suk believes if that were to happen, she would be able to take care of her son for his entire life, but her motives for saying that are later thrown back in her face, and she is accused of needing Cho-won to stay with her. In the past she has largely appeared as "the hero's girlfriend" - for example, Song Kang-ho's companion in Memories of Murder or Han Suk-kyu's ex-girlfriend in Christmas in August.
From a series of flashbacks, we learn that she was revered as a saintly figure during her tenure in the female prison (hence the Korean title, "Kindly Miss Geum-ja. When Park is on top of his myriad tools of cinematic expression, the results have always been breathtaking and it is no exception here.
In the end, I think Lee simply tried to tackle too much here with Love Talk. There are poetically beautiful but unnerving moments such as a reddit dating germany beam of sunlight that pours into the makeshift tent, seemingly taking on the solidity of a pole made of golden glass. But the plight of these men is not all the narrative is concerned with, for we also get more than a glimpse of the experiences of these Korean-Uzbek women and other women who are unfortunate to live in areas of economic desolation. In the final analysis, Murder, Take One is a worthy addition to Jang's filmography, warts and all. Bystanders also attempts to walk the tightrope between its indictment of societal evil, in this case the so-called wangtta (used to be known as ijime, based on the Japanese word for "harassment" - some English subtitles translate ijime/wangtta as "teasing which is like calling cannibalism. Blue Swallow is not a rollicking fun picture that passes from your memory one day after you have seen. The film also includes some very impressive set pieces, most notably those involving ice crevices. However, I can state right off the bat that the Big Revelation that dutifully turns up near the ending is not one of them. Suh Jung, best known from Kim Ki-duk's The Isle, brings a slightly unhinged vitality to the character of Mun-hee; while newcomer Shim Ji-ho plays Hyun as passionate and self-confident beyond his years. Tae-jeong takes Seung-young under his wing and attempts to coach the latter in the "ways of military." But Seung-young, unable to tolerate the rampant unreason and the-order-is (il)logic of grunt life, soon has himself pegged as a troublemaker.
In her masterful debut, Take Care of My Cat, Jeong brought us into the lives of five girls as they crossed into womanhood while negotiating a space for themselves within the opportunities and constraints available to them as young, Korean women in their city. His behavior, such as his refusal, for instance, to be photographed with a dika phone (cell phones with digital camera rigged inside sets him apart from the rest of Koreans, whose sense of individual privacy is frequently dismantled by their sense of obligation to camaraderie. ( Duncan Mitchel ) Bystanders Detective Choo (Shin Eun-kyung, My Wife is a Gangster ) and Kim (Moon Jung-hyuk, the young killer in Bittersweet Life ) are Mutt-n'-Jeff cop partners assigned to a series of baffling and frightening murders. The film score similarly presents contradictions, such as the hopeful melody that highlights the hopeless scene that ends the first half of this film. And then Si-nae's forgetful but kindly boss tries to play matchmaker for her, introducing a handsome sailor named Kim Jun-seok (Kwak Tae-ho) who'd like to take Si-nae away from all this. Far more powerful than the.S.A -like coda preceding the end credits, this scene is one of the most painfully honest renderings of young Korean men I have seen in a Korean film, whose souls are eaten away by the price they paid for having. Few filmmakers adopt such a strategy, though Atom Egoyan's The Sweet Hereafter (1997) comes to mind as another example of a film with its emotional climax in the middle, rather than the end. From large commercial releases to low-budget digital films, from action films to romantic comedies, there was more or less something for everyone in 2005, and audiences responded with strong interest and support.