What impressed me most was the handling of Gong Soo's fantasy. Gongzhu's subjective fantasy is very romantic, and Li Changdong said what he wanted to say in the most correct way. To put it rigidly, the form and content are perfectly unified.
Gong Soo's expressive obstacle is an important basis for the development of the entire film, and it is also the obstacle to expressing this complex character's psychology. Lee Chang-dong speaks with fantasy, expressing Gong-soo's kindness and romance.
The relationship between the two is a small miracle oasis in the social desert of human indifference. The interspersed fantasy makes people feel that the relationship between the two is beautiful but full of obstacles and easily broken. Illusion is a fragile thing, a doorbell will smash the butterfly, and outside interference can easily isolate the two in reality.
Speaking of fantasy, the first thing that comes to mind must be Jin Min. Jin Min's technique of telling reality through fantasy is also used extremely well by Li Changdong in the oasis. Both their first kiss and first argument happened in fantasy.
When we think of deserts and oases, perhaps we think of mirages. Illusions, of course, are easily shattered, but they are also the most difficult to eliminate. Unreal beings are dematerialized, like emotions. "Chung Doo" and "Gong Soo" are separated by reality, and "Chung Doo and Gong Soo" are also immortalized by fantasy.
View more about Oasis reviews
