In such an era, this old Korean man can still care so deeply about the little people at the bottom, deeply care about reality, care about conscience and guilt, and care about the lost innocence. "I don't want to create a gorgeous illusion to intoxicate the audience. I hope that the film can be a little closer to reality, and a little closer. Every time I create, I work hard around this point." He is very clear: "Korean young people don't like reality movies, and they like to watch Hollywood blockbusters. Audiences in few countries around the world will be interested in reality movies. Statistics show that in the 1970s, among the top 10 box office The 6 are all directors who shoot realistic themes and hope to have meaningful exchanges with the audience, and now there is no such film in the top 10." So he made the choice in such sobriety.
His perseverance against the current has been responded to, and he has only made 5 movies in total, but he is already famous all over the world. "In this trend, there is a need for directors who can fight to the end. It's not how good I am, but the only director I can be. I don't want or have the ability to make other movies. The reason why I make movies is to make them better. A lot of communication with the audience, so I can't give up my fight." Someone asked whether the title of "Poem" would affect the box office. Li Changdong said, "I think the movie needs both an audience and a dream." Ethics and feelings were all our expectations for the movie. One year after the film's release, he was elected as a judge at the Cannes Film Festival, on the grounds that "Lee Changdong is the only Korean director who is still paying attention to social ethics and morality with a fair attitude."
A Chinese reporter asked Li Cangdong if Koreans still read poetry? He asked back, "Aren't Chinese people reading poetry?" He said that Poetry was filmed because poetry in reality was dying. When poetry is dead, will people still know they need poetry?
This film is tailor-made by Li Cangdong for Yin Jingji. Yin Jingji, who has been out of film for 15 years, is 66 years old. It shows the forbearance and warmth of oriental women, the incredible fortitude under the weak appearance, and performs well under the appearance of calmness. In the heart suffering from humiliation and loneliness, the soothing despair is deeply tense. The only flaw is that she can hardly hide her nobleness in her gestures, well-maintained skin, and delicate makeup. For a low-level grandma who dragged her grandson to be a nanny and had to succumb to the excessive demands of her employer, she was too beautiful and too elegant.
It's no wonder that she became the queen of Korean national treasure-level literary films in her early 20s. Her husband is Bai Jianyu, the most famous international pianist in South Korea who is 2 years younger than her. The two love movie music and travel, and have a deep relationship. They are well-known gods in the art circle. Family couples, they also go shopping hand in hand when they are old. She has lived a good life in France for a long time, and she has tried her best to play the role of a left-behind old man suffering from Alzheimer's disease. The 66-year-old naked back is still white and delicate. Grandma Jing Ji is really the darling of fate.
The grandma whose appearance has been eroded by the years is used as the protagonist to show the struggles and hardships of the people at the bottom. The theme involves many severe realities faced by Korean society. Profound exposure and criticism are hidden under the elegant expression and calm rhythm. There is no strong Inner and extraordinary skills are impossible to achieve. In this reality, there is still poetry.
"You may think that I am showing a painful and cruel life. In fact, I am showing the hope of life through this cruel performance. Just like we have darkness, there is light."
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