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Life of Brian (1979)
Life of Brian Review: Deep in character and absurd story, but less funny than predecessor
Monty Python's Life of Brian may have provided an absurd story that focuses on the character and plotline. Both that its predecessor lacks but it could never match the comedic genius that made The Holy Grail so great.
Ying (2018)
Shadow: A visual feast with Intricated Story
It is rare these days to find Chinese historical films that could be hailed as epic and a masterpiece, as most films that fall into those genres are usually intervened with production companies for profit, instead of achieving critical success. However, Shadow finally broke through these conventions back in the 2000s with its similar -- if not, exact -- the quality of Ang Lee's Crouching Tiger, Hidden Dragon (2000), or John Woo's Red Cliff (2005). The artistic merit, along with the well-told story and rich cultural backdrop, notably marks Zhang Yimou's return to his prime after his disappointing film The Great Wall (2016).
Shadow is a tale of a Chinese court set in one of its Dynasty. The Commander of Pei CIty, Ziyu (Deng Zhao) creates a scheme to acquire the throne -- seated by an ambitious yet cowardly king (Zheng Kai) -- by employing a "shadow," a figure serving as a body double that looks similar to the commander named Jingzhou (also played by Deng Zhao). The plot thickens as Ziyu asks Jingzhou to take over a neighboring city that once fell into Pei's authority through a duel with the city ruler Yang Chan (Yu Chun). As convoluted as it may seem, Yimou took the time to detailly explain the plot during the first half of the film. Yet, the visual feast he offered made the complex expositions bearable.
I used to watch some of Yimou's films in the past and while I was too young to understand them (so I guess it doesn't count as watching his films?), the visuals with its rich color palette and beautiful scenes were memorable aspects that never disappeared from my mind. However, instead of being colorful, Shadow's visuals resemble the black-and-white Chinese calligraphy -- entrancing and beautiful, mysterious, and elegant. This aspect, enhanced with the hues of human skin tone and the saturated colors from a certain object, makes the audience unable to move away from the screen. There's also another fascinating cinematography aspect that I always thought was impossible to do. Long shots during which Ziyu and Jingzhou share the screen together, facing the camera and making contact with each other, is an impressive feat that I believe is still unthinkable for Yimou to accomplish.
When the second half came, it turned 180-degrees into a thrilling sensation that did not lose its artistic quality. The choreography was stylistic and mind-blowing, which was influenced by the philosophy of Yin and Yang. The masculine saber serves as an aggressive fight tool that resembles the Yang meets with the Yin, the feminine umbrella that carries itself similar to calm water. As a result, the fight between them appears to be a fierce waltz that is wonderfully exquisite, yet the red blood serves as a reminder that it is a dance to the death. Backed by traditional music arrangement, we watch them slaughter one another in a beautiful, appealing manner. Not to mention, the third-act insanity can easily be compared to Bong Joon-ho's Parasite (2019) insane climax. Yet, it leads to many philosophical questions of how much does Yin and Yang still present in its conclusion.
As much as I love the film, the acting was very troubling to watch at a time. The deliverance was similar to Shakespeare's, which is visible when they would give the over-the-top acting. Nevertheless, it is only the highly dramatic acting that made me cringe. It brings the question of how accurate the film depicts conversations with each other.
In conclusion, Shadow was indeed a very satisfying film filled with eye-pleasing visuals, elegant action choreography, and escalating tension that deeply resonates with the Yin and Yang symbolism. Truly recommended for those who long for visually beautiful Wuxia films similar to the 2000s quality.
Paris, Texas (1984)
Paris, Texas: A Journey to Explore Emotion
Another Wim Wenders retrospective screened in the Busan Cinema Center. This time, it was Paris, Texas (1984). What caught my attention by the positive raves it received, such as the 1984 Palm D'or, the FIPRESCI Prize, BAFTA Best Direction for Wenders, and other prestigious awards. It is not surprising that many claimed the movie was one of the best in Wender's filmography. Entering the theater with no knowledge at all (seriously, I was clueless about the story this time), I came out with tears in my eyes and still feeling speechless of what I just watched and felt, knowing that this film will stay in my memories for a while, and if not, for ages.
The film opens with a man named Travis Henderson (Harris Dean Stanton), walking alone in the Texan desert. Working with Wenders' long-time collaborator Robby Muller, who really took advantage of the vast, empty land into a visually appealing, imagery-filled landscape that captures the essence of our main character. Accompanied by Ry Codder's acoustic guitar arrangement, the film not only introduces us to a western genre that seems bizarre but also strengthens the feeling of loss and loneliness of the main character. Moreover, Codder's absorbing tune really absorbs us deeper into the character, pulling us further into the story where we do not know what will happen next. This combination of cinematography and soundtrack is truly well built, leading to ambiguity and suspense.
Next thing we know, Travis lost consciousness and a German doctor examines him. As Travis did not say a word or possess a telephone number, he calls the number that connects to Walt, Travis' brother. Despite having not seen him for 4 years, Walt went to pick him up, which leads to a flashback sequence where we follow the story of Travis's past and try to connect with the people he encountered in his previous life before his disappearance. Now, I'll just stop the synopsis here and hope that I do not spoil the story too much already. In my opinion, this is a film that is best experienced when clueless, similar to our main character wandering in the desert.
The screenplay, which is penned by Sam Shepard, is an absolute powerful screenplay not because of the storyline, but rather, because of the emotions that serve as the core of the film for our audience to explore. Joy, sadness, fear, anger...Name any other emotions and most of them would be present in the film. Wenders served those emotions raw, without any fabrication even though the story felt almost impossible to happen in real life. Just small moments, like the way Walt and Travis interact with each other, would really lighten up my feelings. But what is more fascinating is how Wenders scattered the emotions throughout the film in a way that fits neatly with the atmosphere and builds the proper momentum. This is especially true in two of my favorite scenes in the film - one of which is when Travis looks at his past recordings to recollect his memories. It's an extremely wonderful moment where I just laughed with tears of sadness flowing through my cheeks. As for my other favorite scene...I will discuss it later down below. But I am certain, I believe everyone can connect to the story through the same reasons: in order to feel those emotions that I strongly felt.
The actors' performances were something I rarely experienced. They were on another level...it was another reason why they perfectly managed to capture my emotions and evoke such strong reactions. Now, I never really watch Harry Dean Stanton films since I wasn't really into old films until today, although I do know he has been usually cast in laid-back, supporting roles. Regardless of the films he had played, Stanton perfectly fits the part with his range of emotions, whether through expressions, dialogue, or aura. Hunter Carson, who played as Hunter (yes, they both have the same name) also magnificently nailed the role. His performance was unlike most child actors that have a tolerably stiff performance; it was almost like a professional, despite being a debut. Lastly, Nastassja Kinsky, who played as Jane, might have short screen time but made a lasting impression in the film. I especially love the scene when she converses with Travis. It's just unbelievable. Most of it was done with long takes and no cuts, yet they are so into character that we were transported into their world and what will happen next, paying no attention to the technical detail of that scene. For me, the conversation between those two characters was truly the highlight of the film, thanks to its additional eccentric production design, colorful cinematography, and Codders' beautiful soundtrack. In fact, I am listening to it right now as I'm writing this review.
All in all, Paris, Texas is just a perfect film that will stay in my memories for a long time. I would usually analyze the movie's external and technical aspects but as I am too emotionally invested in the film, guess I'll skip the commentary for this time and maybe analyze it the second time watching. That says a lot about how good the film was. It truly is a must-watch! A very fascinating story with incredibly real and raw moments.
Der amerikanische Freund (1977)
The American Friend: A Spine-Chilling Thriller from Wim Wenders Genius Craft
Wim Wenders. A German director name that I've never heard anywhere before (bizarrely). It's surprising to me that he adapted and directed one of Patricia's Highsmith popular novels featuring the legendary character Tom Ripley into a film titled The American Friend (1977). The Busan Cinema Center gave me a chance to watch one of his films (they were showcasing most of his films right now as part of a director exhibition program). Boy, was I surprised at how much of a genius he is, made me ashamed of myself why the hell I never knew him in my entire life.
Adapted from Patricia Highsmith Ripley's Game (1974), the film centers on American con-artist Tom Ripley (Dennis Hopper) and a terminally ill picture framer Jonathan Zimmerman (Bruno Ganz); in which both of them met at an auction. At the same moment, a French criminal (Raoul Minot) approached Ripley to murder a member of a rival gang and also enlisted Zimmerman to help him in exchange for medication and a great deal of money for his family. Slowly, this event led to the creation of a long-lasting friendship between these two people.
Wim Wenders had brilliantly executed this adaptation through its tension and unpredictability. Yes, it's true that the story is based on a novel and hence, it is quite unfair to give Wenders the credit for its unpredictability; yet, the way he directed the film made me forget that this film is an adaptation of the said novel. This is all thanks to how he managed to capture the essence of character complexity - especially Zimmerman - on screen. Just imagine an ordinary man being offered to do a once-in-a-lifetime assassination that would benefit his entire life. But what Wenders did offer was more than that through dilemmas, ethics, morality, etc. That's how this genius director built tension that creates chills in our spine: through the character's inner conflict that leads to a deeper connection to Zimmerman. Furthermore, the plot also did not give any foreshadowing on what happens next, increasing its anxiety-inducing level to a maximum effect.
Wenders did make changes to the book to commercialize the film in Wenders's home country: British Jonathan Trevanny became Jonathan Zimmermann, Jonathan's wife Simone became Marianne, etc although it stayed faithful to the novel story. This change meant that German with a mix of English was used as the main language throughout the film. But the combination of both languages in dialogue felt natural, unlike in Hollywood films these days that use it for showing off bad accents. Moreover, it still took into consideration the era during which the film's setting takes place. There is no overtly-political expressionism that could be seen in Hollywood films during the cold war. For example, The Godfather Part II (1974) depicts the Cuban revolution. These depictions really felt forced as propaganda but fortunately, Wenders did not depict this kind of flashy expressionism. Instead, he inserted visuals such as the dark and gritty West Germany landscapes or contrast lighting in Robby Müller cinematography to highlight its settings.
Speaking of the technical aspect, most of the aspects felt perfect in my opinion. The movement of Müller's camerawork captures the unrelaxed essence of the film. Jürgen Knieper's soundtracks are precisely placed to add chills to the bones. With meticulous editing, some moments became truly breathless. The assassination scene especially. I was literally shaking my leg and hoping for the scene to end. Until then, I was literally jaw-dropped in that masterfully crafted scene, easily becoming my favorite in the film. Sadly though, the editing wasn't that consistent. I am unsure how to judge it since the film is a restoration to digital so there would be some moment that the cut felt "defective". However, from what I have watched and observed, there are scenes that were cut too quickly before the atmosphere was built to its potential. I don't if it's the effect of the film being restored into digital that made some cut felt "defective" or it's just the director's intention. But in my opinion, some of the editing becomes a disadvantage as entertainment.
Then, there is a relationship that I felt never reached its potential which is the main relationship between our German and American friends. Perhaps this was because they never shared much screen time together in the first place. But featuring the title American Friend, it became a let-down that the chemistry never felt at all even when Ganz and Hopper skillfully committed to the performance. Then, there's the messy ending that blew up what it had built before. It's quite ridiculous but the ridiculousness isn't something to be laughed at considering Wender's "hand-of-god" had taken my breath away before.
Overall, The American Friend is still a satisfying thriller film that would take you to somewhere you never imagine even with its simple story. I think it's best suited for thriller-seeker or audiences who try to find old films that don't challenge your mind and just want to have some fun. With myself know who Wim Wenders is, I can't wait to dive deep into his filmography.
Sanyangeui sigan (2020)
Time to Hunt: A Unique Dystopian Heist that Did Not Reach its Potential
"Hell Joseon" A popular term that was used by South Koreans (mostly by teenagers and youths) to criticize the socioeconomic situation due to its high employment and harsh working conditions in society. Time to Hunt, directed and written by Yoon Sung-hyun, built the film into a dystopian setting through this concept, during which South Korea is experiencing financial collapse. In the meantime, Jun-seok (Lee Je-hoon), who was just released from prison, proposes to his 3 friends - Jang-ho (Ahn Jae-hong), Ki-hoon (Choi Woo-sik), and Sang-soo (Park Jun-min) - to commit robbery in order to escape from their miserable situation.
Yoon Sung-hyun had previously shown his directing abilities in Bleak Night (2010), a film that really grips my attention despite its limited budget and mundane settings. In Time to Hunt, Sung-hyun increased the budget and upgraded its settings to build a more complex world. Yet, he surprisingly shows consistency in directing this complicated film, especially in building tension. Combined with Lim Won-geun's camerawork and dark, stylistic production design, Sung-hyun produced countless scenes where I would just be on the edge of my seat, waiting for the unexpected to come. I would say my favorite scene is the heist itself, which is the epitome of an ideal heist in reality as it includes the emotional states of characters in a very realistic way.
The characters itself are the highlight of the film. While it never really dives deep into the characteristics, it slowly reveals more of their personality and backstory at the right time (without using flashbacks), causing us to be more emotionally attached to them. The way the group interacts with each other is especially the reason why they are appealing and likable. There is not one moment where we believe that their interactions are unnatural. Added with the main characters' performance and chemistry, Sung-hyun has created a standard that should be imitated for other writers (and filmmakers) on how to make natural yet memorable character interactions.
While the film characters are its significant advantage, its story becomes its downfall. I am personally very hooked to the film's first half, which introduced its bizarre settings of South Korea and how the economy really changes social life. However, it never expands more since then, focusing on the chase in the second half. It's a disappointment as I was thoroughly engaged with the setting it presented, prompting questions about the reasons behind it. Sure, I believe that Sung-hyun had his own intentions, but the half-hearted presentation just falls into dissatisfaction. The story inconsistency also clearly presented itself beginning with the second half, thanks to a character decision that just seems to prolong the film length without any much justification.
As I have said before, the characters are the highlight of the film. However, this does not extend to the villain as the character felt very one dimensional, having no basis in his/her personality. This makes the character truly heartless and highlights that his presence is only there to heighten the film's tension. Some of the characters' resolve also felt unsatisfying, bringing another disappointment to the film's resolution, failing to end it on a good note without setting it up for another sequel.
Overall, Time to Hunt truly shows Yoon Sung-hyun's skills as a director that specializes in tension and creates the main characters as a highlight thanks to the actors' performances and chemistry. However, its script-writing is a disappointment when compared to Sung-hyun's previous film, wasting all the potential in the second half and its supporting characters. However, Time to Hunt is still undeniably an entertaining watch for audiences finding a thriller with gripping characters.
Sonagi (1979)
Sonagi: A Rare Romance Gem Filled with Nostalgia
A young, pure, innocent love in elementary school. It's one of the romance stories that I always try to find, yet it is always in vain and if I had found one, it always ends up in disappointment because of its unrealistic elements. However, Sonagi, or more popularly called 'The Shower', is one of those rare gems that truly depict the love story that most, if not all, had experienced as a kid.
Adapted from a short story written by Hwang Sun-won (also titled Sonagi), it highlights the event of a boy named Suk-ie (Lee Young-soo), who lives in a countryside, and Yeon-ie (Jon Yun-suk), a girl who just moved from Seoul in a middle of a road. Through what seems like fate, they both developed a rivalry that slowly blossoms into an innocent love story.
This is not a story where misunderstanding took place, competition with others to win the girl or a final realization that set the main character to chase their romantic interest to disappear forever. NO! There is no made-up scenario to raise the stakes and tension. Instead, it just presents a plain, yet amazingly realistic love story. The characters here just performing their daily routines every day; going to school, playing at the lake, doing chores, etc. And coincidentally the main character just found someone that made the character's heart pound and how it changes the character's daily routine.
The characters are also what made the film flow perfectly. They are not fabricated to stand out in the crowd, but instead, to be relatable to the audience and their daily lives. Suk-ie, for example, is short-tempered; however, spending time with Yeon-ie pacified him because he does not want to look bad in front of her. This is something we've done before when we're in love, becoming someone that's not our true-self (or the opposite sometimes) and how Young-soo and Yun-suk innocently perform these scenes are very subtle that will make us chuckle, reminiscing our own experiences.
Technical wise, Sonagi had achieved near perfection on its era This is notably thanks to cinematographer Lee Seong-chun, who perfectly captures the countryside beautifully with its perfectly composed framing and color. Furthermore, the movie did not forget to capture that warm and fuzzy love feeling between Suk-ie and Yeon-ie through its simple yet sincere moments. Director Go Yeong-nam also managed to make the coming-of-age film filed with metaphoric imagery. There are many visuals Yeong-nam included related to the story foreshadowing scenes but also offer in-depth meanings to the movie. Notably the shower scene, which symbolizes the short but memorable moments of love; it became one of the best scenes in romance film thanks to all of these aspects.
Sadly, the movie is not without its flaws. I felt the characters are too hard to be relatable at first. Yes, they are kids and it is hard to understand their thoughts (which perhaps was the intention). However, the characters could grow annoying sometimes with their repetitive childish act that are quite rarely being found in reality. Then, without spoiling anything, I believe there's one moment that really ruins the film. For me, it just ruins the tone and momentum the film holds as a whole.
So, is it the best romance film of all time for me? Yes, if only that moment being modified. But do I enjoy it? Obviously. It's been so long since I've felt a heartfelt romance film that could shake my heart. Even with its flaws, I highly recommend you, readers, to watch this film. You could search it on Youtube with the channel name of Korean Classic Film. Seriously, It's those rare gems that modern romance film lose their essence in these days.
Le Miracle du Saint Inconnu (2019)
The Unknown Saint: An Absurd Heist Filled with Deadpan Comedy and Message about Beliefs
Trying to explore and widen my boundaries in films, I decided to attend the 9th Arab Film Festival in Busan. The truth on how I stumbled to The Unknown Saint was I just randomly picked a film with an interesting premise and a suitable time. As I went in with little to no information, The Unknown Saint manages to surprise me not just being an entertaining feature but also a film that filled with a deep message about belief and how does it affect the surroundings.
As the film starts, the audience is introduced to a vast desert with appealing cinematography despite its monochrome setting. Then, we set our eyes to a young nameless man nicknamed "The Thief" (Younes Bouab) who panicked due to his car being broke and set on foot with a bag of money. My mind suddenly recalled how similar the film to Coen Brother's No Country for Old Man" and the lesser-known Indonesian film Mouly Surya's "Marlina The Murderer in Four Acts" in term of its visual style. However, as The Thief buries the bag of money in the hill, I realized this would be an absurd film with the reason for digging it similar to a grave. Yet, it will be a ride since first-time director Alaa Eddine Aljem introduces its conflict in a quick and effective way, something most films lack these days with its long set-ups.
Years later, The Thief was released from prison to retrieve the bag only to discover a shrine to an Unknown Saint was built upon his loot with a new village surrounds it. Simply could be a heist thriller, Aljeem approached it as Anderson's deadpan comedy added with a black and satirical but careful approach. Seriously, it's actually a no laughing matter when "The Thief" disturbs a man who's praying so he could receive a service. But I just burst out of laughter as the moment is perfectly captured for a black comedy.
Slowly, the film introduces more supporting characters that reside in the village such as a pair of son and father that work as a farmer, the shrine guard, and his dog, a new doctor who comes to fill the position of the village medic, and many more. This all seems unnecessary to the central plot. But from the role of barber on making gold teeth to the doctor change of job being a central place of hangout instead of taking care of the patients, it does give lots of giggles and chuckles to the audience of the village absurd situation and behavior. As the film progresses, the supporting characters do not only connect the film main plot but serves as a portrayal of how the shrine affects their life.
The shrine itself symbolized as a false god and with the shrine exists, there are some that are being advantaged and disadvantaged with it. The shrine guard is being advantaged with it. Having no personal connection to religion, he instead uses the shrine to take the role of a guard in order to receive popularity from the village and make money from it. Meanwhile, the farmer's family with a deep connection to religion, have a feeling that the shrine being a curse from God as the villagers worship a false god and start to lose belief in their religion. These small examples do show how religion itself could make a cheeky advantage to someone but could shake someone's belief to lost their own faith. However, these messages are very subtly hidden that makes mainstream audience should enjoy the absurdity that the film present without diving too deep.
It's not without its flaws too, where the film became too repetitive that make the slow pace became unbearable. It just becomes overlong with more problems that don't give the "kick" to the audience to be engaged. It also loses its absurdity as the film gets closer to the end and became more grounded in reality. I understand why Aljem did this, but the momentum just vanished slowly without its ridiculousness. The deadpan still exists though through the actors' performance on giving a plain expression in each comedy that's simply fun to look at.
The Unknown Saint, being a debut by the director by Alaa Eddine Aljem, is a charming comedy that filled with a deep message about beliefs that mainstream audience could enjoy as it never takes itself too deeply. It's a very recommended piece of work if you like Wes Anderson films or simply liking a heist caper added with absurd flavor. Looking forward to more of his films in the future.
The Artist (2011)
The Artist (2011): A Beautiful Modern Silent Film Tribute
Being the predecessor of sound films that emerged in the early 30s, it is a must to pay tribute on silent films as without silent films, there won't be an era where we would enjoy films as much as we do now. Unfortunately, most audiences - including me sometimes - can't bear to watch silent films due to being customized to films that filled with dialogues as entertainment. The Artist is different, however. It is truly a tribute to Hollywood silent films by inserting history and references while injecting modern story and filming technique that makes the film to be a feast that (should) become an entertainment for everyone.
The film tells the story of George Valentin (Jean Dujardin), a silent film actor that enjoys success and popularity in Hollywood. In a film opening, he accidentally met a young ordinary woman, Peppy Miller (Bérénice Bejo). This meeting encourages Miller to pursue her career in Hollywood and also her relationship with Valentin. The film seems like an ordinary story that sets in Hollywood, and it could end up predictable for knowledgeable audiences in history. However, there's no denying the charming and delightful moments in the film through Michel Hazanavicius's directions.
Before entering production, Hazanavicius had extensive research of silent films and 1920s Hollywood to match its energy in The Artist. The research truly pays off which becomes a respectable tribute. It was shown in 1.33:1 screen ratio, shot lower in 24 fps, no zoom being used, and many more. The details are really precise in terms of filming techniques. The production and costume design as well. Yes, it is a period film but it's not those kinds of films where it is created just for aesthetic purposes. Instead, it is used to fit into the film era which I've almost never being distracted. However, it might be just me since I'm too focused on the almost-impossible performances.
Without any offense, the actors would not be able to replicate the movements of silent films actor that we saw in Charlie Chaplin or Keaton Buster. However, it is still unbelievable how Dujardin really nailed the role through his movement and expression. Remember that this film has no dialogue at all (even though its shot in dialogue and the voice being omitted) and the actors must use body language to communicate to the audience. Each Dujardin dancing moments are mesmerizing, especially the long take dance in which required him to practice tap dancing for 5 months. But in his most silent moment is where he truly shines, using only minimum body movement yet effectively deliver chills. Bejo also did a fantastic job, developing her movements from clumsy into a self-controlled and confident actress. The supporting cast also did a great job, especially the dog. Yes seriously, I really love the dog and still wonder how the hell did it manage to act extraordinarily to capture some of the perfect moments in the film. Unfortunately (yet understandably) it is played by 3 dogs and the Oscar could not accept 3 living beings to be nominated on a role.
The story, as I said, is quite ordinary and somewhat predictable. However, it is rich in character development that makes the film harder to turn away. Without spoiling too much, I really like on development of these two characters being more and more contrast yet still being intact with each other. The film also surprisingly being as relatable as ever in this era. In the film, Valentin considers himself as an artist that would stay true to his stance. However, Hollywood always pushes themselves into the audience standard without listening to the crew's opinion, indirectly disrespecting an artist's vision. Isn't this what we are experiencing now as we're being bombarded by Hollywood's blockbuster sequel, remake, and spin-off without almost any original ideas being emerged to match the audience's standards? In the film conclusion, my heart was strike with a dilemma to consider it as a happy or just a sad reality ending.
Unfortunately, there are some flaws in the film. It is tolerable that the actors can't really mimic movements exactly in the silent film did. But sometimes, the film lacks movement, and this is extremely unacceptable. There are some moments that the film lose momentum due to these crucial factors, and I can't help but feel bored with those moments. The wonderful soundtrack, however, is the reason why I still glued my eyes to the screen as it's being perfectly placed to carry on the power and momentum of the film while being a tribute to silent films as well.
Overall, The Artist is truly a tribute to silent film mixed with modern film-making techniques that make this film a pleasure to watch for all ages. Watching this film truly burn my curiosity to watch and explore silent film. Seriously, do watch The Artist if you can't stand old silent films in the 1920s and have a change of mind after that. Oh, and do watch out for its surprising and perhaps the most enjoyable moments that the films had to suddenly offer amidst its lack of use throughout the whole film.
Gyeongseonghakyoo: Sarajin sonyeodeul (2015)
The Silenced: An Unusual Supernatural Victorian Tale that will Remain Divisive
The Silenced is by no means your ordinary supernatural film featuring teenage students in a school of Victorian setting. Sure, it has the elements above featured in the film. But Director Lee Hae-young bravely mixed and revolutionized them into a horror tale of colonialism. Sadly though, it never reached its potential to stand out and will leave the audience divisive.
Set in 1938 during the Japanese occupation in Korea, a sick young girl named Ju-ran/Shizuko (Park Bo-young) is transferred into a girls' boarding school that is disguised as a sanitorium to recover her health. Through its tame opening, there's an eerie and creepy atmosphere as we follow Ju-ran entering the boarding school. When Ju-ran arrives, the film successfully distinguishes itself from typical boarding school horror films. All of these kids look fine. There's no signs of supernatural being in the school. But the chills that I got tell my senses that something's wrong and glued my eyes to the screen.
As Ju-ran settled, the film seems more straight to a slow drama where she bonds with her new friend Yeon-deok (Park So-dam) and tries to adapt to her new environment. However, Lee Hae-young smartly inserts some disturbing moments and behaviors from Ju-ran surroundings that reminding us this is still a horror film. Those moments are greatly balanced with the drama of Ju-ran and Yeon-deok's bonding and made the first act a pleasant time to watch.
Slowly, however, Ju-ran started to sense something is wrong with the school from her friends and teachers as well as her treatment. I really appreciate how Hae-young decided to not approach the films with typical jump scares, but rather, with slow-burning atmosphere building to terrorize the audience. This is achieved through most of the supporting cast performances that make the audience experience spine-chills and how the abnormal moments are inserted in unexpected places. Unfortunately, these potentials are never achieved as the film second-act being too slow, dwindling anywhere without moving the story forward added with its beautiful yet misplaced music cues that lose the film tension.
Still, even when the story didn't move forward, the character did develop and there's still an emotional attachment that audience could relate to. I personally love on how Ju-ran changes not only from her health but socially as she became braver to interact with others and her speech being more fluent. Park Bo-young, who's performance is popular from A Werewolf Boy (2012), shows more range of talent in this film. The breakthrough are from Park So-dam though, who already attracts me from its charming aura yet a cool demeanor that is so similar from Parasite (2019). Praise also needs to be given to the production team and cinematographer Kim Il-Yeon that beautifully captures the visuals, making the film bearable to watch even with its flaws.
The audience might be divided on how the mystery was resolved. As I mentioned several times above, this is by no means a typical Victorian horror. There's a social context mix with a history of colonialism that truly creates a horrifying moment for those who could relate. However, for those that don't, the revelation could be off-putting and the third act could appear to be ridiculous and over-the-top. Personally, I did felt the latter but I can't deny that I enjoy it and still have sympathy for all of the characters thanks to its strong development in scriptwriting.
The film is a mix-bag. However, if you're bored watching typical horror films and try to find a slow-burning terror with great characters and cinematography, then The Silenced might be a recommended choice for you.
Busanhaeng 2: Bando (2020)
Peninsula: An entertaining yet Disappointing of a Smart Sequel
When Train to Busan hit theaters, it became a sensational hit for the right reasons. It manages to become an enjoyable blockbuster yet with smart social commentary and emotional moments that (I need to admit) made me cry. 4 years later, Peninsula - the sequel - hit the theaters with high ambition but fail to reach the height of its predecessor as it falls into the ordinary sequel trap.
4 years after the events of Train to Busan, a former marine, Jung-Seok (Gang Dong-won) must return and retrieve something at now-abandoned Korea in order to be accepted by the society outside their homeland. I really appreciate how they took a new approach to the zombie sequels with a new setting. However, bigger doesn't always mean better as the world-building lacked in the concept details of that never reach the tension felt in its predecessor.
Perhaps the above reason can't be blame due to its small yet important component: characters. A large number of characters also resulted in less screen-time, making it hard to have in-depth sympathy with the characters. The characters also felt flat with its two-dimensional personality, making it hard for the characters to be likable even when the actors have given their best to portray them. As a result, it lacks emotional attachment and even scares to deliver.
Still, I can't deny on how much entertaining Peninsula has to offer. Yeon Sang-ho's use of camerawork and how he directs the action sequence make the film watchable. I preferably like the first chase scene with zombies and the survival game. The survival game especially, really showcases his direction with his one-take. The visual style could be deemed as unique as well, showing abandoned Korea as dirty and chaotic yet beautifully eye-catching. Although I need to say that the CG in its car scene is extremely rough that you somehow looking more of a video game than a live-action film.
Overall, Peninsula is could never reach its predecessor quality as a smart blockbuster with a high emotional level. However, its entertainment value, if almost, could still reach what it had left 4 years ago. Just don't expect too much to use your brain and have fun as you visit Peninsula.