What I want to discuss more is the two groups of this generation of Korean filmmakers and the young Korean audience. They are very lucky, there is no repressive film censorship system, no one castrates your ideals, any form of film concept and script, creative as crazy as Kim Ki-duk, even if there is a lot of scolding against him in Korea, his The film is still extremely tolerant and respects his artistic creation. With such an environment, it is not surprising that he won the Venice award.
Exposing the ugly side of the country is as profound as "The Furnace", which completely teases your nerves of anger at the state's public power. And this "The Defender" is even more so, completely exposing the brutal history of national politics, subverting the beatings, confounding right and wrong, and persecuting the masses, all of which are exposed. There is no so-called invisible big hand pressing such a masterpiece under the Wuzhi Mountain, making it invisible. Filmmakers are brave, they dare to try to make such a subject. Filmmakers are even more fortunate to have such a relaxed creative environment. The important thing is that these movies with profound themes are very good at the box office in South Korea. The audience is willing to buy them, and they have the patience to watch them describe the once dark history of this country. And listen to the director's ideals. The final result is that the ideals of filmmakers can be realized, and they can still stand to make money. What a good ecosystem this is.
Why do I put special emphasis on the younger generation, they are even more fortunate. Knowing the history of the country is often a boring thing for most young people, but the Korean filmmakers of this generation can always describe the history of their country in a particularly vivid way. Very visible. So when young people of their generation sit in the cinema and see a movie like "The Defender", on the one hand it satisfies the entertainment needs of the weekend, on the other hand, it enlightens them on the dark perception of the country, reminds them, let They were afraid of the darkness of that era, and because of their fear, they were alert. Because of vigilance, I think about how to avoid the mistakes of the past, think about how many people's efforts have made it back in today's democracy, cherish their rights, and defend their rights. Know where the days of today come from and where the days to come will go.
And our generation of young Chinese audiences, poor us, don't know where we came from, don't know the darkness of our country's history, and don't know where we are going in the future. The darkest decade. . .
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