Director Kang Hyung-chul is one of the emerging directors who have attracted much attention in South Korea in recent years. The hot sale of "Super Scandal" in 2008 successfully pushed him to the throne of the Blue Dragon Award for Best Newcomer Director. After a lapse of 3 years, Jiang Jiongzhe returned with "Sunshine Sisters", which once again set off a movie viewing frenzy, making the film the highest-grossing film in South Korea in the first half of 2011. The story takes women as the protagonists, and is slowly laid out in the narration and interlude, respectively depicting the images of seven Korean women with different personalities and experiences. This film is somewhat similar in type to the Thai film "The Little Thing of First Love", both of which focus on youth and nostalgia. The difference is that "First Love" focuses on the simplicity of "teenagers don't know the taste of sorrow", while "Sisters Taoism" focuses on There are more vicissitudes of "except Wushan is not a cloud".
Although Jiang Jiongzhe regards Korean dramas as venomous snakes and beasts, he also ridicules the hospital patients who are addicted to Korean dramas in the film, implying that the disease of a sick person is not in the body, but in the mind and spirit, but "Sunshine Sisters" is still more or less. Influenced by Korean dramas, the heroine is terminally ill, and the clean and clear texture in the picture is the signature feature of Korean dramas. In fact, the story structure of this film is very commercial, with the story framework of the standard Hollywood assembly line model. Its success lies in the perfect collage of the "past" and "present" in the flashback of the cliché story, which is smooth and vivid, and creates a warm and dreamy grand scene for the audience in the nostalgic and moving emotions. meal. Coupled with the repressive and absurd performance of the crowd under the political confinement of South Korea's military rule period, the film has a comedy effect, which not only enriches the theme, but also improves the quality of the film.
It is not difficult to see that the film only touches on the emptiness and distress of middle-aged women and the difficulties they face. It does not point out the key problem to solve this crux, but attributes all the problems to money and friendship. In the story, Nami's emptiness is at your fingertips. She is more than elegant and lacks enthusiasm in middle age. Life has already fixed her in a certain frame, and it is difficult to extricate herself. Obviously, she needs a love or a career to illuminate the dull life. Rose's insurance performance is not a business miracle that can be enjoyed once and for all. The same is true for the others. In the film, money has become the omnipotent master of rescue. Although this film aims to shape women's consciousness, mutual assistance, and self-improvement, it has fallen behind in the joy of singing and dancing. It is a pity.
The ending of the film is obviously suspected of pleasing the audience. Physiological inertia and acquired self-esteem make women content with the status quo, lacking rational cognition and thinking about feelings and careers, often ignoring themselves, and looking for life in other external factors. Breakthroughs, such as friendship, family, etc. Just like several women in the film, they grow old in the happiness they take for granted, but they don't know that this kind of compromising self-germination is like an anesthetic, making you fall into short-term happiness and get lost without knowing it.
In fact, as a commercial type film, "Sunshine Sisters Amoy" has done the best possible to make the audience like it. But as a female audience, you must be vigilant at all times. It is absolutely necessary to "bring things" like this kind of covetousness and enjoyment.
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