Five years ago, at the "Promise" meeting, Chen Kaige gave a very famous interview. He said that we should be very cautious in judging Hallyu. There are basically two things in Korean movies, pornography and violence, and the basic value is here. Then some people will think that he is really a director who hates evil.
It is no wonder that Peng Haoxiang will add an explanation after the filming of "AV". This can be said to be a film initiated by director Chen Kaige, but it should not be a film of Chen Kaige's style, and it is more certain that this must not be a film that Chen Kaige would like to watch. If we start from these words, it seems that "The Beginning and End of the Jin Funan Murder" really falls into the stereotype of pornography and violence. In addition to being beaten from time to time, Jin Funan has to endure day after day sexual abuse as a tool to vent his desires. . Korean film actors are very dedicated and still have an unabashed style.
But everything has two sides, the key is where you look at it. Judging from the words of murder, the film is that the comer is not good, the selling point is clear, and those who don't like to watch will naturally stay away. Seeing the second half, I thought of an ironic ending. That is, the second female escaped the island by herself. Except for the silly old man, all the people on the island died, and she became the number one suspect. It is absurd to think that an indifferent bystander has become a criminal who has no place to appeal. However, in doing so, the film can't echo the beginning, and there is no way to present a perfect island image.
The analog-matched cut that transitions from the curves of a woman's body to an island vista is simple and original. It is one of my favorite endings of the year. It takes metaphorical montage to the extreme and can be included in a movie textbook. Except that some chapters are slightly lengthy, the film arranges a conflict point about every 20 minutes, and the whole process explains the "beginning" and "end" of the event.
Twenty minutes or so was sexual abuse, and Jin Funan was used to it.
After 40 minutes of discovering his daughter's secret, Jin Funan felt panic and despair, and all he could think about was escape.
About 60 minutes, which is the middle point of the whole film, the movie ushered in a major turning point. His daughter died tragically, and Jin Funan fell into a mental breakdown.
Twenty minutes later, Jin Funan picked up the sickle to kill, and the blood color dropped. She broke out of the uninhabited island, ushered in the climax of the ending, and accepted the inevitable fate of death.
At the same time, the film has always been shrouded in a weird atmosphere, and the mountains are about to come. It begins with the female No. 2 witnessing a vicious murder, and the movie creates a terrifying mentality that ordinary people are afraid of being retaliated against. Due to her strong sense of vigilance, the female No. 2 is on guard everywhere and is unusually indifferent. As the plot continued to deepen, the audience just realized that the indifference of the second female lead has a great source to follow. In general, horror films always highlight visual experiences such as staring and peeping. Seeing things that should not be seen or knowing too much, these have brought disaster. Female No. 2 fills a similar role, making things worse by pretending to be a sidekick and hurting a bunch of the weak, including her poor friend.
The movie combines the images of the victim and the heroine into one, because before Jin Funan did it, many viewers already hated it and wanted to jump directly into the screen to exercise justice. The director asked Jin Funan to vent his anger and vent his anger for the audience. This is an emotional recognition, not a blood spill to kidnap emotions or steal concepts. When the woman's soft tongue kept licking across the blade, the man only had to tremble. Just like Kim Ki-duk's works analyzed earlier, the characters in this film also live in glass containers, out of touch with reality. The second female seems to be unpopular, living alone in Seoul without any relatives or reasons. The island where Jin Funan lives is even more isolated from the world, without laws and without the influence of modern civilization. From another point of view, due to the constraints of the place, the emotions of the characters are more likely to explode, because they have nowhere to run and no one to rely on. Of course, these alone will not make Zhang Zhezhu successful, at most people think of Kim Ki-duk's "Drifting Room", which has water, islands and a woman's body. The director's outstanding point is that he has drawn inspiration from the bad women and Isla Mujeres of the older generation director Jin Qiyong, and successfully inherited the fine tradition of Korean film history with the traditional image of a vengeful woman. For a scene of letting go and killing people, the film uses a series of quick edits. Jin Funan is digging potatoes and carrying a big bag, sweating like rain on the field, and a few old ladies are singing next to him. Judging from this paragraph alone, apart from being on top of the scorching sun, there seems to be no motive for her murder. At this time, the scorching sun has become a symbol, just like the patriarchal oppression of Jin Funan. She couldn't bear it anymore, and after taking the first step, it rained heavily, changing the previous weather. Although the Lala plot in the film is innovative, it is debatable, and the recorder explosion in the second half is even more inexplicable, but this relationship makes Jin Funan more naive. Compared with this relationship that hardly involves desire, the secret of the demented old man on the island is very powerful. This is a perverted island with chaotic ethics. It can be called a micro-society with great reference value. Criticism and catharsis, this is the success of "The Beginning and End of Jin Funan's Murder Case". 【Beijing Youth Daily】
View more about Kim Bok-nam salinsageonui jeonmal reviews
