Directed by Park Chan-wook Will the film win the Palme d’Or, the highest honor at the Cannes Film Festival? third competitor (2016) returned empty-handed, but the first invited work 2004 Jury Prize, Law was created by Andrea Arnold in 2009. This is the fourth entry into the competition category of ‘The Man at Cannes’, which won the Jury Prize jointly with . The movie was officially released on the afternoon of the 23rd (local time), and it quickly emerged as the most talked-about work in the 75th Cannes, which was relatively lukewarm.
The movie received an overall average of 3.2 points (out of 4) from the 11-person reviewers of Screen International, the most widely referenced daily in Cannes. of After (2019), expectations for the second Palme d’Or in Korean film history are growing. Judging by the history of 50 years of watching movies, 40 years of movie study, and 30 years of writing movies, The film’s aesthetic and artistic level is unparalleled as a problematic masterpiece that deserves attention. Not only in Park Chan-wook’s previous works, but throughout the history of Korean and even world films… .
yes It cannot be said that a rating of 3.2 is so great that it makes bubbles. Their evaluation and the decision of the 9 judges in the Cannes Competition are not identical. Julia Ducournot, who won the Palme d’Or last year. was only 1.6 points. Of the 24 competing films, Sean Penn’s (FLAG DAY)’s 1.1 points and Nanny Moretti’s (TRE PIANI; THREE FLOORS> is the third from the bottom following the 1.5 points, so it has not risen to the top of the film festival that has ‘showed off’ the world’s highest authority. Moreover, director Lee Chang-dong’s At Cannes in 2018, did not stop with a score of 3.7, which was the highest score in screen history.
However, with a score of 3.5, he was predicted to be a strong candidate for the Palme d’Or, and eventually won the award. In the case of 2021, three films scored more than three points, and all of them took the main prize. Ryusuke Hamaguchi, who had the highest score of 3.5 for Best Screenplay, 3.4 points (Apichatpong Weerasethakul) (Nadav Rapid, 2.1 points) along with the Jury Prize, 3 points (Leo Karax) took the Best Director award. Even if it is only a reference to the last, the reality is that, unlike ‘Le Film Francais’, which consists of only 15 French people, the evaluation of the Screen International Critics, which is composed of critics and journalists from various countries, has become a kind of yardstick.
If you look at their faces, it is not easy not to agree. For example, British media Peter Bradshaw, who is participating as a representative of ‘The One’, is not just one of the well-known critics, but ‘The One’, which has been representing the British film critics by exerting a powerful influence in the UK, is a statement by Jeon Hye-jung, executive chairman of the London Asian Film Festival. it’s a prophecy Then he gave the Guardian a full of 5 points and gave it 4 points in the gala Cronzette as well as the screen, saying it was inlaid with a golden palm, so how can we not pay attention? Therefore, it is a natural result that his name and evaluation are being mobilized to a large extent in the reports of the domestic media. How about Michel Simon of France’s Positive Magazine or Stephanie Zakarek of Time Magazine? Their splendor is also inferior to Peter. so Being talked about as a potential nominee for the Palme d’Or is not just over greed.
how In any of these films, the best critics like Peter Bradshaw had to say, “The tension and the intrigue, the showy emotional confrontations, the genius use of cell phone technology (which often interferes with today’s thrillers), and its stylistics, including the fantastic rooftop chase. Were the set pieces, and the plot twist, which he manipulated in his own way, “very Hitchcockian” in his own way? Tang Wei is ‘magnificent’, and the ‘intelligence and live-wire energy’ she brings into the film is ‘a marvel’. In fact, Peter’s commentary This is the key point to approach.
Director Park’s novels by Kim Seung-ok are works that have influenced him at a meeting with reporters in Korea. (1964) and a Swedish police detective novel Volume 7, British classic melodrama directed by David Lynn, starring Celia Johnson and Trevor Howard (Brief Encounter, 1945). Even at an official press conference, he refused to pay homage to Alfred Hitchcock, and denied any direct connection with the greatest master in film history. However, it is a film (that is my final interpretation) that starts with Hitchcock and ends with Hitchcock.
The film begins with an incident where a veteran, unmatched in rock climbing, falls from the top of a mountain and dies. Detective Hae-jun (Park Hae-il) encounters Seo-rae (Tang Wei), the Chinese wife of the deceased, but something is unusual. Although the age difference is large enough to be misunderstood as her daughter and father, she does not show much commotion in the face of her husband’s death. “I was worried if I didn’t come to the mountain. She fears that she will ‘finally’ die.” Her police, of course, designates her as her suspect and puts her on the line as a suspect. Hae-jun gets to know her Seorae through interrogation of her alibi on the day of the incident, newspapers and undercover investigations, and finds herself gradually falling for her beyond her interest. On the other hand, Seo-rae, who is not easy to understand her inner feelings, knows that her Hae-jun is suspicious, but she treats him without hesitation… .
Although it cannot be said that it is very new, the ‘Hitchcockian energy’ penetrates the movie with a meaningful title that can not help but be tempted by this simple storyline. Starting with a detective character inspired by Martin Beck, reluctantly following his wife Madeleine (Kim Novak) at the request of her old friend, feeling her irresistible attraction to her. (1958), retired detective John ‘Scotty’ Ferguson. Even Park Hae-il exudes the aura of James Stewart. The scenes in which Hae-jun peeps into Seo-rae’s apartment are a turning point in ‘Hitchcock World’ and a representative work among the representative works of ‘Peek-a-Look’ (?). (1954) resembles In the end, the scene where Hae-jun is searching for the whereabouts of Seo-rae, who disappeared on the wavy beach, is (North by Northwest, 1959), linked to the climax of the Mount Rushmore sequence.
How about the music conducted by the director’s later friend, Young-wook Cho? The theme song of a song composed by Bong-jo Lee and Hoon-hee Jeong, which not only summons him, but also touches the theme of the movie. is a famous selection that will shine in the history of Korean film music. Especially when the ending credits go up, Jung Hoon-hee and Song Chang-sik sing a duet. really gives an overwhelming sound. Not to mention Gustav Mahler’s 5th Symphony, which is a ‘fantastic’ if you are a fan of classical music. However, the effect of these selections is far from the clichéd background music of other popular films. It doubles the feeling of immersion in the movie, but the effect is (1960), etc. are directly related to the counterpoint directing of Hitchcock film music. finally Regardless of the intent, it is a cool film that dramatizes Chan-wook Park’s unconscious and subconscious desire to become the ‘Hitchcock of the 21st century’ into ‘Park Chan-wook-sik’s style’, as Peter Bradshaw expressed ‘in their way’. All.
The fog image that dominates the film not only through music but also mise-en-scène It is a decisive device that reveals the problem consciousness of At some point in the movie, the color of the clothes Seorae wore appears green from one point of view and blue from another, but the ‘ambiguity’ that cannot be defined ‘unilaterally’ is the It is a keyword to understand ‘Park Chan-wook World’ beyond The fact that the production company’s name is ‘ambiguous film’ means that it was not just built with ‘gao’ (bluff).
Unfortunately, I couldn’t get a ticket, so I watched the 4:30 press screening at the Debussy Hall and was not able to attend the site. After the official screening of the Lumière Grand Theater at 6 p.m., Park Chan-wook humbly expressed a very simple impression as follows. “Thank you for welcoming me to such a long, boring, old-fashioned film.”
That sentiment is half right and half wrong. At 2 hours and 18 minutes, it cannot be said that it is short for a popular movie. There is hardly any strong violence or sexual setting/description unique to Park Chan-wook’s films. At the press conference, the question of why there are no such elements is a funny happening question. When I think of Park Chan-wook’s three previous works, who had visited Khan, it is not that I do not agree with that question. Wasn’t he truly a ‘hard-boiled master’ representing Korea as well as Asia?
He was suspected of not only exposing body hair, but also of an actual affair. (2007, directed by Ang Lee) hired the female protagonist Tang Wei to show a certain culmination of what is called ‘Platonic Love’. They made a movie to the best of their abilities, so it was worth it.
If you are bored with this person, it is most likely because of some change in Park Chan-wook’s world. What’s more, he’s made a movie that’s terribly classic, in other words ‘old-fashioned’. In this infinitely frivolous age because it is not light enough, in the age of digital online streaming service (OTT) represented by Netflix, that is, copies and imitations (simulacrum). Therefore, the fact that Jeong Hoon-hee (and Song Chang-sik) and Mahler are called is not just an effective flirtation. This movie is a digilogical battle of ‘Chanwook World’, which declares Park Chan-wook’s new start. Although the signifier relied on cutting-edge digital technology, the signifier is what kind of struggle of a world-class middle-aged director who doesn’t want to lose his analog sentiment and welcomes a new cycle of life while looking at his 60th birthday.
In a meeting with Korean reporters, director Park Chan-wook introduced the film as “a romance between people who are faithful to their desires while trying to maintain a minimum dignity”, saying, “It is rare to have an experience that is as important as love and shows what humanity is.” Judging from that, the introduction is highly likely to be sincere. Isn’t it fascinating that it is a romance between a detective who tries to protect ‘dignity’ and a foreign woman who is fatally attracted by that dignity and loves the man, but makes a ‘decision to break up’ to protect the man?
I couldn’t sleep for three or four hours, but the next day I went to the Lumière Grand Theater at 8:30 am and watched the movie again. As a writer who visited Cannes twenty-one times, it was a film experience that was rare. Then he fell deeper into the film. For a while I You might get lost in it and stumble. Watching over and over again in line with the domestic release. I’ve seen it five times in the cinema alone. like it was when In the meantime, I’ve directed a total of 11 Park Chan-wook’s feature-length films. (2002) has been said. I wonder if my choice will change now, by.
this will you walk the path of It will be a few days before we can go down that path. Regardless of the outcome of the award, the film is for me Ali Abashi ()of It is the golden palm inlay of Khan to come with. He’s expecting at least the best director. In a few days, Cannes will also complete its 12-day campaign, and it will surely be remembered as an interesting film festival. As usual… … .(continue)