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In fact, much is made of how Sunhi has disappeared from these men once already even if she's stayed in South Korea during that disappearance. In the middle of all that, there is a professor from the U. Hall is a documentary with passion in its heart. Hong's panning to the tops of trees as transitions from the wider forest of scenes is quite delightful. After eight years of nail-biting tension, and with a baby on the way, he is now anxious to extract himself from the gang and retire.
Finally Lee Jung-jae is very effective at expressing the anguish and panic his character feels but desperately tries to keep hidden from view. Deutelbaum's encouragement to see something other than what others put there helps me to contemplate the trees differently.
Hong's films have always provided moments of dissonance with romantic tropes. Hwang Jeong-min, for his part, is both repellent and charismatic as the impulsive and extroverted Chung. Now she returns to the theaters worldwide with that very documentary in her hands. Yet, using a fountain pen as the lethal weapon of his choice, Jung also portrays a frighteningly ruthless and focused murderer who means it when he says he prefers to leave no loose ends.
See, Hae-won falls asleep a lot, at the coffeehouse or the library. Perhaps it's a further emphasis on the seasons in Hong's work. This simply stretches the credibility to the point it snaps. Sullen and unhappy on his first day at the unfamiliar locale, he notices an ethereally beautiful girl, Hae-won Kim Yoon-hye, Ghost Sweepers skating by herself on a frozen lake. His antics are funny observed from a distance but he is frankly not a person you would want to keep around as a friend.
It is like the song Sung-joon plays on the cassette. Hence begins the Hong standard bearer - the awkward drinking scene.
Casually disregarded by her work colleagues, she knows that her career is going nowhere, but there's nothing she can do about it. Not as intriguing as War of the Arrows and not as crowd-pleasing as Masquerade, you could still do a lot worse than The Face Reader in making a Joseon-dynasty-set period piece. But perhaps the movie's biggest surprise is how it conceives its villain, James. This single incident throws the inner workings of the Goldmoon crime syndicate into chaos, since the powerful boss of the group had been sitting in the car's back seat.
Deutelbaum delivered a paper for a panel on Hong's work at the Society for Cinema and Media Studies conference where he argues against a tendency to associate Hong with other filmmakers. Stranded on a beach in the middle of nowhere, she comes across an eccentric middle-aged man selling inspirational videos. Our need to connect directors across thematic, regional, or stylistic arcs might cause us to see things that aren't there in Hong's work, or keep us from noticing what is indeed there. In this task he is lucky to have this group of talented actors under his command. It's just as likely that these characters might continue to repeat their destructive patterns with each other.