suffocating

Jason 2022-04-21 09:03:32

The film takes place in South Korea living under the aegis of the United States after the Civil War. Compared with other films of the same type, the confused citizens of the empty country after the war have no warm care or even painful reflection, only bloody and naked. People fight against each other, and they can't tell good or evil intuitively. They only feel that a cauldron is placed on the head of this village, and they are isolated from the supervision of God, and they lose the vigilance of human nature and morality. The insulted and the damaged, the hegemonic and the sadistic, are all wrapped in a hood like a pot of porridge, and they can't tell each other for a while, so the tragic reincarnation is recklessly performed according to the script. Many people are fighting, it is South Korea's resistance to shrinking the country's destiny, but all the conflicts always feel like plots that promote the development of the script, the moviegoers clenched their fists nervously, but the blood is cold. There was a man who jumped to death and even used his own death to make a V letter: he wanted to break the oppression, he would never give in, but when he approached the dome, he might have seen a bitter word written on it. It turns out that the lid on everyone's head is not the oppression of any force, just like the tragedy of the village is not the stationing of the US military, and the suffocating depression is not derived from the fate of the country in a specific historical period, but a bitter word. War is hard, peace is hard, the weak are hard, the strong are hard. All beings are suffering.

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Extended Reading
  • Mylene 2022-03-18 09:01:09

    After reading Kim Ki-duk, you can almost be invulnerable to all kinds of poisons.

  • Wade 2022-03-19 09:01:10

    More and more admiration for Korean movies, especially Kim Ki-duk's. Not so exciting, perhaps more desolate, the characters are dull and autistic, but all the depictions are real and warm feelings. It feels a bit similar to Wu Nianzhen from Taiwan. . . Compared with the mainland, Hong Kong and Taiwan films in recent years, the gap has become murky. . . . .