The foreign TV and film that is fresh and worth seeing is highlighted by Anywhere But Hollywood. The South Korean crime drama “Decision To Leave” is the topic of discussion this month.
The language barrier in the middle of the Korean police’s proper “departure decision” process. Hae-joon (Park Hae-il) is a handsome Busan police officer, Seo-rae (Tang Wei), the Chinese wife of a deceased businessman. Although the words may sound, the interesting thing is going away; the eye and the body take over in a fascinating way back and forth between motivation and ethics. Like the Wall of Jericho in Frank Capra’s classic “It Happened One Night,” barriers seem to fall. But to make matters worse, he is also the suspect. Seo-rae’s husband dies while climbing a mountain, but the police investigation is ruined right after she meets the detective. She is cute and shy and apologizes for her Korean flaws.
He was very happy. But she wants to know what she doesn’t want to know about her husband’s death. Is he hiding something or is he far away? He starts looking at her to see what he will see, love, or money makes him blind to not see that he might be looking at her too. 카지노 Writer-director Park Chan-wook is returning to the big screen after six years away from the hyper-violent, gonzo approach of previous films like “Oldboy.” It still looks crisp and young – it’s always delivered – but there’s also a softness here and plenty of grip. His latest offering “The Handmaiden” is all about sensuality and violence; his new is very different from his treatment of young romance. The softness in the display gives an unexpected pleasure.
Hae-joon is the opposite of a tough detective (he wears a wet towel rather than a gun), while Seo-rae is neither feminine nor intelligent. They don’t fit the dark mood of the film, and the first of many subversive choices made by Park, which allows the story to veer well off the beaten path and away from convention. Having two different parts, the final analysis and the build-up to the first, the film reminds “Vertigo” in more ways than one (like Hitchcock in San Francisco, we also get a city full of fog, isolated forest and danger. sea). That said, Park avoids many of the male-dominated pitfalls of this film in favor of two characters seeing each other in an awkward way.
Hae-joon is married; Seo-rae could be a murderer – it’s not good. As they come together, the story comes together. The plot is full of intrigue, including the hunt for another killer, euthanized grannies, and the elixir of a bad man. Some of them are essential to the plot, others are foils, but even the strange tangents are interesting.
Park Hae-il and Tang’s smooth performances and undeniable chemistry have enough gravitas to pull our attention away from any snarky threads. Both of them present an interesting story by director Park and Seo-kyeong Jeong, which has rhymes and echoes. The words are placed like a minefield across time and space, burying themselves in the souls of Hae-joon and Seo-rae. Words that may not be well understood at the time, but when they are, fall through. In the final act, when the complex plot of the film falls into its emotional state, it is very good. Finally, no barrier can prevent rain.
Interview: Writer-Director Park Chan-wook
The Korean master told CNN that he wanted to accept and change the movie scene in “The Decision to Leave,” playing music, design and male gaze. He says: “The story is different from all the deals of this kind.
For more details about his “meta approach”, why he chose Tang Wei, and why “Vertigo” is so far from his mind, read this interview.