Due to historical reasons, politically satirical films have become a major feature of Korean films, and Lee Junho's "Monster of the Han River" and "Memories of Murder" are among the best. Others include "26 Years", "Common Security Zone", "Flying the Tai Chi Flag", etc. Every good crime-themed film should reflect politics and hold the government accountable. The latest one is "Terrorist Live" .
The same is true for the "Influenza" I watched tonight. The first half follows the pattern of most disaster films. The virus appears, then seeks an antidote, and puts the camera on a few little people to narrate and finally save the world by these little people, like It's very "Iron Nematode Invasion", but after the antidote is found, the narrative surpasses the former, and there are a lot of political confrontations that follow. These confrontations are much more straightforward than films such as "Common Security Zone". In the end, this will push the whole drama to a climax. At the last moment, the little girl almost cried when she opened her arms in front of her mother and shouted. The "Korean humour" in it also makes people smile when the rhythm is slow. There is no sense of disobedience to the love line under the main line of escape.
The Korean film is full of self-deprecation and a sense of crisis. In "Memories of Murder", Detective Park holds a banana and says that his country is JB. The mockery of the government in "The Monster of the Han River" is even more incisive. "Influenza" expresses strong dissatisfaction with the US's control of South Korea, and the victory in the final struggle is as exciting as a speech by the French president in "Love Actually". But this is only a phased process, just like Gu Weijun's refusal to sign the treaty at the Paris Peace Conference in the last century. The historical background here is that after the Korean War ended in 1953, South Korea and the United States signed the "U.S.-South Korea Mutual Defense Regulations", so that the United States has been stationed in South Korea. "Influenza" fully reflects the problem of a nation's self-esteem.
Judging from the development trajectory of Korean films, if China's film censorship also becomes a grading system, there will be a burst of films about politics, history, horror, and eroticism. Only then will the prosperity of Chinese films really come.
Just imagine the future of a movie in a country where even "The Devil Is Coming" and "Apocalypse" could not be released.
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