The official UK release date for Kim Jee-woon’s colonial era spy thriller is 24 March. The Age of Shadows, released in the UK by Soda Pictures, opened last year’s London East Asia Film Festival. At the time of writing no London screenings have been announced, but the movie will be screened in Sheffield, and earlier previews are … [Read More]
Category: Film reviews and comment (page 9)
Will you be there? (당신거기있어줄래요, 2016) review: love, regret and the weight of time
Based on Guillaume Musso’s French novel Seras-tu là?, director Hong Ji-young’s gently engaging ‘Will You Be There?’ fits so well with a number of utterly classic Korean cinema tropes, genres and sub-genres that it wholly succeeds on both a specifically Korean and generally international level… [Read More]
Festival Film review: Spirits’ Homecoming
Spirits’ Homecoming depicts the abduction and suffering of Korean girls forced into sexual slavery during the Pacific War, interweaving wartime trauma with the present-day lives of survivors. The narrative seeks release from unresolved grief and historical denial through a shamanistic ritual. LKL’s review is informed by a Q&A and panel session with the director. [Read More]
Operation Chromite (인천상륙작전, 2016) review: high-stakes espionage marred by caricatures and casting
This war drama excels in its tense spy narrative and expertly directed action sequences but suffers from one-dimensional characterizations. A film is only as strong as its weakest link, and in the case of Operation Chromite the weakest link by far is Liam Neeson’s cringe-worthy dialogue, and indeed tortured performance, as General Douglas MacArthur [Read More]
Vanishing Time: A Boy Who Returned (가려진 시간, 2016) review — childhood, time and impossible love
Blending fantasy, mystery and coming-of-age drama, Vanishing Time: A Boy Who Returned tells a hauntingly beautiful story of childhood, belief and love across impossible boundaries. With striking visuals, subtle special effects and strong performances, Uhm Tae-hwa’s film contrasts adult scepticism with the boundless imagination and emotional truth of youth. [Read More]
Festival film review: Yourself and Yours
Hong Sang-soo (홍상수) Yourself and Yours (당신 자신과 당신의 것, 2016) Review by Robert Cottingham. You can tell from the opening titles exactly the kind of film this is going to be. Black Korean calligraphy on a white background suggests an intelligent and possibly artistic film and the lively classical music hints at a sophisticated comedy on … [Read More]
BFI Festival Film Review: Na Hong-jin’s The Wailing
The Wailing is a punishing, relentlessly tense horror thriller that thrives on ambiguity and sensory overload. Na Hong-jin toys with belief, suspicion and endurance, delivering a prolonged roller-coaster of dread, brutal set pieces and exhausting climaxes that leave viewers shaken, uncertain and deeply unsettled. [Read More]
Rituals, Reflections, and 3D: Director Park Hong-min on A Fish
Director Park Hong-min discusses the shamanistic inspirations behind his debut film, A Fish. He explains his unconventional use of 3D to create a distorted reality, the symbolic role of mirrors and doppelgängers, and the influence of Jindo’s healing rituals. Park also details his collaborative approach to the film’s restrained, atmospheric sound design. [Read More]
Brief festival film review: Eoh Woo Dong
Lee Chang-ho (이장호) Eoh Woo Dong (어우동, 1985, 110 mins). Review by Robert Cottingham. Eoh Woo Dong translates as “entertainer,” a rough approximation of the duties of 14th-century Korean courtesan Eoh Yoon Chang. After a lifetime “in service,” Eoh Yoon Chang retires to a faraway village. Meanwhile, her powerful father, ashamed of his daughter’s lifestyle, … [Read More]
Brief Festival Film Review: Kai
Lee Sung-gang (이성강): Kai (카이, 2016, 96 mins) Review by Robert Cottingham Snow Queen Hattan casts a spell over the peaceful village where Kai lives, and covers everything in ice. The River Spirit who is the protector of the village gives the brave young Kai the only key to fighting off Hattan and asks him … [Read More]
The Wailing (곡성, 2016) review: a relentless descent into fear and paranoia
The Wailing takes director Na Hong-jin’s almost trademark intricate, pulse-pounding narrative intensity and ramps it up yet further with palpable character fear, paranoia and desperation. Thriller by name, utterly thrilling in nature, this darkly violent, three-pronged horror ‘whodunit’ is a worthy successor to The Chaser and The Yellow Sea. [Read More]
Festival film review: Crush and Blush
Lee Kyoung-mi (이경미): Crush and Blush (미쓰 홍당무, 2008) Review by Robert Cottingham. Right near the beginning of Crush and Blush, the main character Mi-seok stands digging a deep hole in a schoolyard. I thought that it was a punishment used in South Korean schools, but if not it could be a visual metaphor for … [Read More]
Festival film review: The Truth Beneath
Lee Kyoung-mi (이경미): The Truth Beneath (비밀은 없다, 2016) Review by Robert Cottingham Lee Kyoung-mi got her start in films working with Park Chan-wook, and from watching this film it seems she has taken his lead when it comes to violent revenge. When a politician’s daughter goes missing the scandal threatens to upset his ambitions … [Read More]
LKFF report: the opening night and The Truth Beneath
The eleventh of the London Korean Film Festivals organised by the KCCUK opened on Thursday with a little sprinkling of stardust. Jung Woo-sung, who electrified the audience during the 2014 festival where he was the headline attraction, came to the opening night as just a regular guy wanting to watch a movie. But that didn’t … [Read More]
The Handmaiden (아가씨, 2016) review: a masterclass in sensual storytelling
Park Chan-wook’s ‘The Handmaiden’ is a masterful film contrasting dark with light and (male) lecherous ugliness with (female) emotional beauty in a multilayered tale of immaculate depth and indeed meaning. Ultimately, ‘The Handmaiden’ sits atop the very best of Korean cinema, both in terms of narrative content and visual sumptuousness. [Read More]
Park Chan-wook talks about Handmaiden, octopuses and more
Park Chan-wook discusses adapting Fingersmith to colonial Korea, adding racial and class barriers, collaborating with Jung Seo-kyung and filming intimate scenes. He reflects on lessons from Stoker, violence and symbolism, octopus imagery, working with his brother on Night Fishing, shamanistic themes, adaptation processes and making films for future Korean audiences. [Read More]