Kim Ki-duk is an ink painting

Cindy 2022-03-22 09:02:45

South Korean director Kim Ki-duk has seen a lot of movies. I used to think I liked his movies, but I didn't think about why. I watched "The Bow" last night, and after watching the wind blowing on the balcony, I gradually realized that it was his extremeness that attracted me. Starting from "Empty Room", "Samaria Girl", "Time", "Drifting Room", "Young Prostitute", to "Bad Boy", "Spring, Summer, Autumn, Winter and Spring", all of them were deeply attracted. There are no grand scenes and no epic time span. A single person, event or scene becomes a movie. After watching each movie, I can reminisce over and over again, trying to figure out what Kim Ki-duk wants to express.
Yes. try to figure out. Every film of Kim Ki-duk is obscure, and the metaphor is magnified in him. Obscure is not necessarily difficult to understand, but in films full of expressive desires, Kim Ki-duk often does not like to arrange dialogues. Often a film comes down, and you can count how many lines of dialogue there are. I remember watching "Bad Boy", until the end, only to find out that the rogue Henji is a mute! It's not my fault, who made Lao Jin's films all in this tone? Therefore, friends who like to watch the lively and lively, mountains and rivers can stop. If you don't watch it quietly and concentrate on it, you will feel that Kim Ji-deok's film is nothing but dull, even a little dull. If you don't carefully understand Lao Jin's shooting skills and ingenious ideas, it's like swallowing a bun, your hungry stomach is full, but you haven't tasted the delicious stuffing of the bun.
Just like "Bow", the filming location is a ship at sea. No background, just a ship, that's all. There are three protagonists, a girl, an old man and a handsome guy. The plot is simple. The old man raised the girl and wanted to marry her. The handsome guy came to the boat to fish, fell in love with the girl, and wanted to be a hero to save the beauty. If I remember correctly, in the one-and-a-half hour film, the girl and the old man didn't have a single line. Even when they were the most angry and uncomfortable, they just used body language and eyes to "speak". I remember that many writers and dramatists have said how important character dialogue is, which will make the work full of life, tension and so on. Even my favorite writer, Yu Hua, has paid attention to the dialogue of characters after the transformation, using dialogue to express the psychology of the characters and even promote the plot. However, Kim Ki-duk did the opposite, and when he went to the end, he simply let the characters not speak at all. If you don't talk occasionally, people will say you're cool, but if you don't talk all the time, people will say you have character. Kim Ki-duk is such a character, so many films, he never tires of it, and it seems that he will continue.
Of course, extreme things have extreme reactions and audiences. Some people like it very much, and some people don't like it. Fortunately, most of the literary and artistic youths pretend to be coercive and flaunt their individuality, so Jin Ji-de's personality has won a huge and good reputation among the literary and artistic youths indiscriminately. Lao Jin is not trying to be flattering. He is like a child playing, indulging in his own world. Although his toys (movies) do not speak, it does not affect his expression through them.
Suddenly, the ink painting sounded like this. It seems simple. Although the tone is dark, it can create a warm feeling through the contrast between white and black. Personally, I often forget the colorful oil paintings or even feel nothing, but I prefer the few ink paintings because they have a profound artistic conception.

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