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Korean Film Festival in Australia
You could,[url=http://woolrichdeutschlandarcticparka.albirank.net/][b]woolrich outlet[/b][/url], had you been like doing so you sufficiently patient and pedantic a historian from the current-shifts in international cinema (and clearly, I am) an exact date to the moment when Korean cinema peaked.
It was late 2002. The Busan Film Festival going by its re-Romanisation name,[url=http://duveticadoudoune.halod.com/][b]Femmes Manteaux Duvetica[/b][/url], Pusan gaining a reputation as the festival to look at, a hotbed of auteurist creativity. So that as if to remove any doubt about its newfound importance, the directors from the three major European festivals, Cannes, Berlin and Venice, all made pilgrimages towards the Korean seaside town scouting for new talent, but actually consecrating the brand new Korean Cinema, as it was then known, with the mere fact of the presence.
You could also argue, with a few justification, that these three wise men were somewhat late to the party Korean feature filmmaking having with that time been astonishing attentive international audiences for at least four years. Nevertheless, the combined effect wasn't lost. Cannes, Berlin and Venice? Say what you like, they never all resulted in to Thessaloniki.
Yet, vindicated in its own abilities, and sensing the possibility of attracting foreign audiences, the soon started to change. And what was lost, arguably,[url=http://giuseppezanottisneakerssale.webmium.com/][b]giuseppe zanotti Outlet Shoes for Sale[/b][/url], was a large amount of what had made Korean cinema most interesting: the small, smart, adult dramas and unclassifiable one-offs which had signalled the emergence of the genuine new wave.
Forget about knotty, morally complex relationship dramas like A Good Lawyer Wife or Jealousy Is My Middle Name. No more pitch-black political satires like The President Last Bang scabrous, boldly comic consider the 1979 assassination of then-South Korean president Park Chung-hee,[url=http://peutereyjacketsuppliers.webmium.com/][b]Peuterey Jacket men[/b][/url], which saw its maker, Im Sang-soo, censored in his homeland. And no more WTF outliers like Bong Joon-ho Memories of Murder, or Jang Sun-woo S anti-romance Lies.
Within their place arose a host of genre films pics, sugary rom-coms, ultra-violent gangster flicks. Some of which were excellent indeed: Bong The Host, for example. And while there were still flashes from the old seriousness of purpose Park Chan-ok long-awaited second feature, or Gyeong-Tae Roh surreal, occasionally terrifying The final Dining Table; or Lee Chang-dong magnificent Secret Sunshine were greatly exceptions to the rule.
As filmmakers like Park Chan-wook didn't capitalise upon early successes (and have you see I A Cyborg, But that is Okay?!), commercial blockbusters like Haeundae (tidal-wave disaster movie) and 200 Pounds Beauty (in regards to a, er, 200-pound beauty) rushed to fill the gap. The Korean broke; what was left would be a robust but sporadically interesting national cinema, much like any other.
That can bring us for this year KOFFIA Korean Film Festival. Where the dominant mode is celebratory, and the tone appropriately light. Part of this is,[url=http://peutereyjacketsuppliers.webmium.com/][b]Peuterey Jacket outlet[/b][/url], obviously, to become expected of the vernacular festival, especially one which functions as an arm of cultural diplomacy. It suggestive of your Korean cinema right now: a commercially-minded juggernaut, more fixated on pleasing its domestic audiences than winning new converts.
Nevertheless, certain trends are discernible, a minimum of on the case-by-case basis. For one thing, it establishes that reigning auteur Hong San-soo is increasingly a spent force. The Day He Arrives (2011) offers another weak,[url=http://wheretobuyrogerviviershoes.webmium.com/][b]buy roger vivier shoes online[/b][/url], formalist spin on this director recurring themes and motifs (another blocked filmmaker protagonist, more drinking). Yet it positively shines beside this year entry, In Another Country, which was inconsequential even by Hong own recent standards, its portmanteau of three linked stories notable chiefly for imported star Isabelle Huppert obvious discomfort onscreen.
Among Hong longtime champions senior programmer in Ny in my experience in Cannes, prolificacy has done Hong few favours. Instead of extending his range, he been content to recycle lazier and lazier variations on the same, already-thin material. ( bear a few of the blame for this, said programmer admitted for once, this didn seem like hubris. simply have to stop showing everything he makes. [Would that other festivals follow.]
Likewise, the aforementioned Im Sang-soo, once probably the most exciting and rigorous of his country filmmakers, whose first five films, from 1998 Girls Particular date to 2006 That old Garden, constitutes one of the richest and many accomplished bodies of work in post-dictatorship South Korean cinema.
But his 2010 remake of Kim Ki-young 1960 classic The Housemaid, was ill-advised: lurid, overblown,[url=http://kevindurantnerfshoesreleasedate.blogspot.com/][b]jordans shoes for sale[/b][/url], and more than a little ridiculous. And his latest, The flavour of Money,[url=http://kevindurantnerfshoesreleasedate.blogspot.com/][b]kevin durant nerf shoes release date[/b][/url], is placed in very similar milieu (it was erroneously billed as a sequel, prior to its premiere in Cannes), and appears to enjoy the decadence it supposedly critiquing.
Confined to just one lavish house (purpose-built for that movie), it chronicles the multiple betrayals within a wealthy, antagonistic family. Yet with its sexual politics, and it is tastefully-lit nudity (one four-way looks like an outtake in the Red Shoe Diaries), the end result sees Im in danger of becoming the Hanguk Harold Robbins.
Rather more impressive, if patently derivative of its sources, is The Client, a courtroom thriller so unashamedly American, both in terms of subject-matter and technique, it could as well star Matt Damon or Matthew McConaughey.
But it slickly made, parcels out its twists and revelations efficiently relation to narrative, it marks a considerable advance on director Son Young-sung previous effort,[url=http://duveticadoudoune.halod.com/][b]Femmes Doudoune Duvetica Pas Cher[/b][/url], 2008 convoluted The Pit and the Pendulum has, in lead actor Ha Jeong-woo, a genuinely charismatic leading man; along with Song Kang-ho, Ha (The Chaser, The Yellow Sea) is arguably the most compelling actor about the South Korean screen at this time. And the film proved a box-office sensation upon local release, amassing over 20bn Won (AUD18.5m).
Even more popular, though in a very different style, Kang Hyeong-cheol female-ensemble comedy Sunny (pictured) has won raves from audiences and critics alike: a study of seven middle-aged friends, which oscillates between their somewhat disappointing present, and their schooldays within the 1980s, it reportedly a delight currently the 12th highest grossing film in South Korean ever, beaten only by Ki Han-min period-action pic War of the Arrows screening here.
Several titles are missing: it would happen to be nice to determine Lee Han funny, charming teen boxing movie Punch, for example. Or Jeon Kyu-hwan Dance Town. (Indeed, the vexed question from the North is conspicuous by its absence.) Or Jo Sung-hee apocalyptic End of Animal. But as a help guide to where this country and its film market is at right now, the wedding is indispensible.
For more information on the 2010 festival visit the offical website.
Algeria, 1959. High in the lake of Kabylia, Terrien, an idealistic lieutenant takes over the command of a platoon in a French army outpost. Here he meets Dougnac, a cynical sergeant. Their differences and the harsh realities within the field drive the two men to breaking point. Lost within an undeclared war,[url=http://peutereyjacketsuppliers.webmium.com/][b]Peuterey Jacket Peuterey Jacket Manufacturers Peuterey Jacket[/b][/url], they realize that their worst enemy is themselves. Director Florent-Emilio Siri reveals the true brutality and horrors of war. Stars Benoît Magimel, Albert Dupontel and Aurélien Recoing. (From France, in French and Kabyle) (War) (2007) (Rpt) MAV (A,V)
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