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Rather, it is fast, dirty and mean like an angry hedgehog rolling itself into a ball of pointed quills, ready to pounce at your face. To approach such a sensitive topic in such a satirical way takes a very steady hand, and I can think of no one else I'd want on the optic operating table than Jang. The latter two are where the fetishes presented come into play. The importance of place and space to our memory is wonderfully portrayed throughout the film. Moon So-ri, Gong Hyo-jin, and Bong Tae-gyu are each more than capable of carrying their respective segments, and the supporting roles are well-cast. As the curly-haired, wide-eyed, slightly ridiculous Pil-ho, whose monumental sense of inadequacy actually propels the film's narrative, Lee Beom-soo gives a flamboyant but entertaining performance. Insecure about approaching her, he ends up stalking her and stealing her stockings after discovering that she is prostituting herself to pay for the hospital bills. Zhang's use of kim-chee as Soon-hee's connection to everyone involved, including herself, is well laid out and adds nicely to a tradition of how food is used in film explored in detail in Reel Food: If anything in The City reminds you of Kill Bill, that's because Ryoo Seung-wan has fully absorbed into his stylistics the East Asian films that Tarantino was "inspired by" in making his revenge flick. Much of this can be credited to the decision to cast actor Bong Tae-gyu in the lead role. Besides what Freud fans will find reinforcing about this film Han-soo's need to "return to the womb", the sexuality issues that arise for Han-soo when bathing his mother, and various other fetishes , the film has some compelling scenes, particularly when Han-soo reveals a secret to Mi-jin and earlier scenes involving his coach and teammates. And he's got many underlings, even among the police, to do his bidding.
These stockings will later provide cover for Han-soo's own methods of paying off his mother's debts. Yet it is made clear that the family is no less valuable because of it. But for me the most exciting aspect of this film was what it lacked. Adam Hartzell One Shining Day Partially financed by the Committee for the Promotion of Cultural Enterprises Commemorating the 60th Year of Liberation, this indie omnibus production puts together three novella-length short films. Clever additions and numerous cameos add interest and keep the proceedings fresh. Premiering as part of the New Currents Award series, it didn't win but seemed to generate some buzz at the festival. Scenes are enacted and re-enacted based on ambiguous and questionable recollections of the historical past and questionable conceptualizations of the hermit country to the north, all while trying to avoid the intrusion of the realities of the present from disrupting what is believed to be grandfather's wish. Eun-hye is played by a girl Jeong Eun-hye with actual Down's syndrome and some of her own experiences were brought into the short. Given the names in this cast, it may come as no surprise to hear that the acting is top-drawer. And he's got many underlings, even among the police, to do his bidding. Frustrating for the reviewer, the best example of this happens at the end when Kim dismantles a ubiquitous scene in South Korean romances. Gong's performance in particular is worth watching five or six times just to revel in its energy and to catch all of its details. Indeed, we witness the birth of at least two families onscreen. He immediately smells a rat. Outside of the harrowing conditions of the cold weather, Min found running in the snow extremely difficult. The importance of place and space to our memory is wonderfully portrayed throughout the film. Over the Border's tragic romance is almost entirely carried forward by the film's ridiculously attractive stars: The only possible fault I could find in his interpretation of Sang-do is that his Busan accent is not always convincing, probably a non-issue for most readers of this review. Thugs in this film are truly thugs: In almost every other respect he is a carbon copy of one of those psychotic "tough guys" in bad Hollywood movies who probably urinates undiluted testosterone. We never know just what -- unimaginable cruelty, a blast of rapid-fire action, or even a gesture of kindness -- and this keeps us at edge. Even though One Shining Day is ostensibly made to celebrate Korea's liberation from the Japanese colonial rule, the actual film pays little attention to the memory of colonial experience which makes only a brief appearance as an unresolved mystery in one of the episodes. It appears that Yeo may himself feel frustrated by this because he did say during a discussion after the screening of his film at 's PIFF that there are some bits of autobiography in his recent film Silk Shoes. Others might champion it as one of the more honest cinematic statements about the vicious cycle of violence, an unflinching snapshot of degraded human souls hobbling toward, not redemption, but the Nietzschean abyss in which they see shiny-black reflections of their own bloodshot, insanely grinning faces. Lee Jung-hwan's live-wire primary villain seems to think he is Juan Peron and his wife Evita. This fear is widespread in Korea these days, partly because industrial developments are rushing ahead at such incredible speed.
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