If there are some Korean directors who must watch every film they make, the name "Kim Ki-duk" will definitely be on the "must-see" list in K's mind. within the top five. So when this new film released in early October was lifted, K couldn't wait to put down resources and plan to make subtitles Amway for everyone.
However, I don't know if I don't do it, so I pulled the whole film and suddenly wanted to cry.
Director Jin, who has always followed the picture, the artistic conception, and the stream of consciousness. In the early days, each movie had few words or even no words at all. Jin Director, who has not taken off the label of "less lines" since the film for nearly 20 years, has always been considered as a "subtitle group". When did Director Jin of "Gospel" become such a down-to-earth talker?
This time, he was actually a tickler with a Korean accent...
There is "Smecta" in the south and "Silayou" in the north. He was tortured by Ryu Seung-fan's long-term practice with a fake and super-heavy low-pitched Korean. The inch translator, Jun K, said that if he sees a film involving North and South Korea issues in the future, he will most likely go around XDD
Yes, this movie that Kim Ki-duk has the most words in history
is it ⇓
experienced mental and physical conditions Kim Ki-duk, who has come back to the film industry after a big ups and downs, is obviously unable to match the overall level of his works after 2011, which is obviously no longer comparable to that of almost every film that has produced "Spring, Summer, Autumn, Winter and Another Spring", "Samaria Girl", "Empty Room" and so on. All are comparable to the heyday of God's work.
The difference between before and after, in addition to the weakening of the stream of consciousness, the restraint of the unrestrained, the greatly reduced strokes of the gods, the so-called "cruel and gloomy" began to surface, and the choice of subject matter, from the initial focus on the fate of marginalized people, deep digging. The bloody human nature hidden in the nooks and crannies, and the niche film career that focuses and willful to the extreme has gradually increased his participation and concern for the market, the public, the nation, and even politics.
This "Net" is the second time Kim Ki-duk touches the issue of North and South Korea with a film after he wrote the script for "Red Family" for rookie director Lee Joo-hyung in 2012. Also known as Kim Ki-duk's most "normal" work so far.
That's right, except for the eye-catching naked Ryu Seung-bum on the poster, and the simple and rude scene of getting out of bed at the beginning, this movie is actually not very "Kim Ki-duk".
First of all, the story of "Net" is very simple: a North Korean fisherman who drifted to South Korea because of a boat failure was first investigated by the South Korean government for being suspected of being a spy, and then he was persuaded and persuaded by various South Koreans who could not grasp the handle. "Return", but the fisherman who insisted on going home for the sake of his family finally returned to his hometown with the help of a reasonable guard and the pressure of the motherland.
(Of course, in order to avoid spoilers, the final reversal will not be discussed here.)
The story is simple, and Kim Ki-deok's lecture this time is also very simple.
The whole film adopts the normal sequence of narrative, without making any mystery in time, and the narrative rhythm is also quite satisfactory. There are no scenes that are too stream of consciousness, no metaphors that are too obscure, and no plot that is too excessive. I hardly play long shots, and montage is also abandoned in editing. The characters speak and do things, with clear logic and clear motives, and even every expression shown is within the comprehensible range.
In the past, there were scenes in Kim Ki-duk's films that required turning a few corners to understand, psychological preparations, and sometimes even abruptly slowed down. In this film, almost none of them exist.
In short, "normal". Pretty normal.
Although Kim Ki-duk, who is too "normal", will make audiences who are used to his "drastic medicine" feel a little abnormal, but as a pure film-watcher, not a certain style of director's brain-cracking fan, This film, which mocks and reflects on the atmosphere of opposition between the North and the South, is still superior in comparison with similar themes, and it is worth watching.
From Kim Ki-duk's best metaphor throughout the film - "net", and the ridiculous satire and dark humor scattered in the film, to Ryu Seung-bum's epic "Korean" who gave up the image of a trendy boy and completely integrated with the character. "Acting skills are the highlight of this film.
The wonderful feeling of "déjà vu, but completely different, but still excellent" revealed in the film also gave the audience more confidence in the "post-Kim Ki-duk movie", which gradually got rid of extreme individualism and began to be noble and down-to-earth.
Finally, let's listen to director Kim Ki-duk himself, some interpretations of the film's theme:
"'Net' can be considered as the country we live in now, while 'fish' is an individual person."
"I don't think you should think about it . Which side is good, which side is bad. When a person with a nationality is in the relationship between two countries, how that person sacrificed, how he became miserable, I hope to present this process. And Those dignitaries of the country want to show that while they are perpetrators, they are also victims themselves. Although they all look like perpetrators, aren't they all victims of
ideology ?" -
This article is excerpted micro-channel public number: play a small drama drama special
original address: http://mp.weixin.qq.com/s?__biz=MzI1MjMxMzE4MA==&mid=2247485518&idx=1&sn=cd9e9ef1258981b7058cfc9a833eba51&chksm=e9e4e37dde936a6bf5ea23ef6f14869ca911b38e73e8f63830eb1108a6529b3e1b9826f131bc#rd
View more about The Net reviews
