The development of the Korean film industry has lasted for ten years. This decade happens to be the decade when Hong Kong films declined, and it was also the decade when the mainland film industry gradually became hot. Note that I use the word fiery, not prosperous or prosperous, and the difference is more than a few words can clarify.
Korean movies, no matter what genre, I think the first feature is that they are good-looking. It's like reading an article: smooth and smooth, this is the most basic requirement for a movie, but unfortunately the directors in the mainland seem to forget it in a group. All kinds of bad films emerge in an endless stream, all kinds of ridiculous one after another, there is no worst, only worse. Watching a movie becomes a kind of torture, don't lick your face and talk to the audience about the artistry, let alone make nonsense that this audience is not good.
Second, mainstream Korean films have a common feature: they point directly at the complexity and fickleness of human nature. Whether it's director Park Chan-wook's revenge trilogy, or a pan-political genre like "The Furnace" and "The Defender." The portrayal of human nature is an eternal theme, and this happens to be one of the areas that Korean directors and screenwriters are best at. In a way, far more than the glory days of Hong Kong cinema. For the same reason of oriental culture, Chinese people feel the contradictions and conflicts in Korean dramas even more empathically. Therefore, at this point, Korean movies are also more than Hollywood to some extent. "Rain Man" and "Seven Deadly Sins" are of course regarded as classics by all human beings, but "Old Boy" and "Yellow Sea" are even more shocking to Asians. Uncomfortable impact.
Let me say a few words about this movie. The pictures are exquisite, the editing is ingenious, the script is advanced and relaxed, and the actors' acting skills are just right, so I won't exaggerate. I can only say this, although it was supposed to be done like this, Park Zanyu still surprised everyone. After all, this is the first time for him in this genre, when almost everyone is about to position him as a master of revenge movies.
In the past, I had a point of view that the reason why mainland films were not made well was the evil film censorship system. Now I'm a little shaken and almost giving up. The core problem is that the skills are not as good as the talents, and the skills are not as good as the people. Complaining about the audience is the core problem of the core problems. After all, there are some things, and the attitude determines everything. Of course, this does not mean that I do not oppose the current censorship system in the Mainland. In fact, I think that if Chinese films are to become stronger, the existing censorship system must be reformed and an effective grading system must be established. Such a big country, with a dizzying history, is in such a transitional period that has not been encountered in a thousand years. There are too many materials and stories are everywhere.
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