Filmbap

Film reviews of mostly non-US, independent movies for all of your otherworldly cinematic needs.

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HIll of Freedom (2015) - The fact that it’s hard to find any screencaps for a Hong Sang-soo movie that do not contain mildly tipsy people around a small table packed with soju bottles speaks volumes about the atmosphere of his movies, and Hill of Freedom is no exception.

However, instead of a prodigal son or daughter we now have a Japanese man returning to Korea to find his estranged lover, while also encountering some colorful characters in what seems to be a bit of a Groundhog Day-esque universe (also a recurring feature in Hong’s work). Anyway, for all the lukewarm reviews it received, I quite enjoyed it. My favorite thing about it was probably the way Hong captured little moments of intercultural short-circuits between the main character and people around him and his skillfulness at exploring profound themes with very little at his disposal. In the end, the movie got a bit weak and was overall riddled with that idle 30-something male wanderlust that just bores me in general, but if you are a fan of his work in general, I don’t doubt you will enjoy this one.

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Nobody's Daughter Haewon – After Frances Ha and Our Sunhi, I chose to watch yet another female-fronted film thoroughly immersed in mid-20s ennui, the reasons behind my decision only natural as I am in the same mess myself, it seems. Those who are familiar with Hong Sang-soo's style won't be surprised by the slow, repetitive rhythm of the movie, as it leads the audience into the same world of confusion its characters are placed. After witnessing recurring conversations, coffee shops, acquaintances and passers-by, the results of characters' mindless quests remain ambiguous, while some still appear none the wiser. The protagonist Haewon, much like Sunhi from Hong's following film, is as (paradoxally) lost as she is determined, and it would be all too easy to dismiss her as a character (like some critics have done) if she wasn't so endearing and so easily relatable in her aloofness. Falling asleep in libraries, thoughtlessly picking wrong men, wondering how everyone else has it better – that's what 20s are for, right? 

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Our Sunhi (2013) – True to his directorial manner, Hong Sang-soo once again places the prodigal son (or daughter, in this case) as the protagonist of the story, in a world made up of art students and filmmakers – undoubtedly close to his own.

When Sunhi returns to town after a few years of absence and lack of contact with any of her past acquaintances, she encounters three men: an ex-boyfriend, a fellow filmmaker and an old professor. Through idle scenes of friends and former lovers sitting in cafés, where they talk about their past and future, Hong Sang-soo invites us to explore the nature of relationships and personal identity, as Sunhi is in search of her own in return. One might find the repetitiveness and frivolousness of their conversations a bit pointless, but it is in fact those that make Hong's movies so charming and, to some extent, even philosophical. Our Sunhi might not have resonated with the cinematic cynics out there, but for those who happen to be in any sort of post-graduation, quarter-life crisis or any other forms of soul-searching phases, this movie might provide a temporary relief – cluelessness is a universal feeling, and sometimes the only appropriate one.

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Commitment (2013) – Choi Seung Hyun, better known by his stage name T.O.P, has many talents: rapping, acting, being fashionable, suggestively tilting his head to the side, referencing Dadaism and various other artistic motives in 3-minute long videos, name-dropping obscure and unlikely bands as his favorite, covering No Diggity without looking like a complete ass, subtly paying homage to Prince, effortlessly carrying a perfect set of eyebrows on an equally perfect face.

Unfortunately, one of the talents T.O.P doesn't posses is picking decent movies to star in, but because of the aforementioned reasons, myself and other admirers of his life/work/existence still choose to watch it. Commitment successfully manages to contain every known cliche in the favorite cinematic dichotomy that is North vs South. We have an undercover spy pretending to be a normal functioning member of the society, love interest that is never (explicitly) materialized, innocent family member left behind used as a means of coercion, ominous "meanwhile-in-Pyongyang" scenes, you name it. Going in with little or no expectations from this movie, I could only be met with a positive surprise, which is kind of what happened when I realized that, yes - even though a bit trite, this movie is still very watchable and, at times, even exciting. It might be for my own perfectly shallow reasons, but by the end I found myself pretty invested in it, to the point of letting out a little gasp when unexpected turns took place. Bottom line, even if you're not into K-pop idols you might enjoy the cheesy, but alright action/drama - for everyone else, treat yourself with this little T.O.P gift that contains actual substance. 

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oh oh more movie reviews! (: I'm watching The Flu right now, it's pretty good. you should check it out.

I definitely will! I've seen it mentioned pretty much everywhere, so I'm expecting something epic. However, it'll have to wait while I suffer through Commitment first, my unapologetic T.O.P fangirling won't allow me to watch anything until I finish it.

(Also, Tumblr never seems to bother with notifications for asks, so I apologize in advance if I'm 432 years late with the response!)

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Cold Eyes (2013) – The remake of the Hong Kong crime film Eye in the Sky this time comes in a slick, modern package, placed in the busy and chaotic streets of Seoul. In the center of out story, we find Ha Yoon-joo, the ditzy, but hugely perceptive newbie to the highly-trained surveillance branch of the Korean police forces. She and her team are set to track down the main players of an armed robbery organization, led by a criminal mastermind going by the code name "Shadow". Their chase is made more difficult by the fact that the surveillance team has to keep close without ever revealing themselves, always keeping a safe distant from the target. This provides a tense experience for the audience and the movie doesn't fail to keep the atmosphere dramatic at most times.

However, the major downfall of this movie, the one that might prevent the audience to become invested in the story beyond the surface, is the lack of character development, resulting in failure to portray any of their dimensions beside the professional one. That is why the tragic events aren't as poignant and the victorious ones aren't as cheerful. Other than the team leader (played by Sol Kyung-gu), whose personality is somewhat worked out, it's easy to not care about the rest of the characters. That said, Jung Woo-sung makes an amazing villain (who knew?) and his performance does conjure the cold-blooded, frighteningly precise criminal he is supposed to be. In a nutshell, a decent espionage thriller that had potential to be more compelling, but fell short somewhere along the way.

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The Terror Live (2013) – "Holy shit, this is like Speed in a newsroom!", said the person I was watching this movie with. And they were kinda right.

The story begins when Yoong-hwa, a fallen news anchor star, now a radio show host, receives an unsettling phone call from a distressed listener who is threatening to blow up the Mapo Bridge. When his devious plans come to fruition shortly after, the audience is taken on a dramatic roller coaster ride, lasting no longer than your average (fictional) working day. However, instead of having a classic hero, who in theory should do anything in his power to prevent the sociopath on the phone from doing any more harm to innocent people, Yoong-hwa sees this unfortunate event and the frenzy around it as a lucrative opportunity to boost his ratings and hijack his radio station, turning it into a makeshift TV studio. As the tensions escalate and the tragedy obtains more hostages, victims and blackmails, the lines of morality become increasingly blurred, only to become completely shifted once this chaotic broadcast reaches it (somewhat ridiculous) pinnacle.

Anyway, The Terror Live might not be the most original movie out there, but it definitely offers a fresh perspective, placing the media (with all its flawed and unpredictable characters), and not the heroes or perpetrators, in the center of the story. As a side, it also offers an enjoyable hour-and-a-half thrill for all of you Speed/rolling news fans out there.

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Hide and Seek (2013) – Having noticed that this movie got mentioned a lot during the London Korean Film Festival (which, sadly, I haven't been able to attend this year... I'll be back some day, damnit), naturally I got pretty excited when it finally became available online. It started out as a promising little mystery film, one of those that provide the right amount of psychological build up without ever succumbing to displays of full-on violence or gore. However, as it dipped into the characters and the plot some more, it became obvious that it would be a painfully predictable thriller-by-numbers, where the seemingly well-off character actually has dark past/long-lost relatives who might be out to get him/psychological disorder that are all suddenly reappearing on the surface. The movie further disappoints once it reaches its "twist", when, in fact, you come to realize what unnecessary lengths it had gone to mislead its viewers - to the point that it developed a whole different sub-plot, which ultimately, served no purpose and was left there standing like a dead branch in script as a whole. I'm not even getting into what might be the moral of the story: "poor people, know your place"? Don't know, seems like this one could be it - in which case, I dislike this movie even more.

Still, good points: furniture, everything Jeon Mi-Sun is wearing. All of it.

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White Night (2012) – There are two things I'd like to (without any previous knowledge) assume about this movie: a) that the title/basic premise is a reference to a similarly named story by Dostoevsky (possibly true) and b) that some scenes, especially the first snow one, were ever so slightly influenced by Tony Kushner (probably not true).

Either way, this was my first encounter with Leesong Hee-il works and, to be quite honest, I had no idea what to expect. My initial reaction was one of surprise, as I'd never seen LGBTQ issues so openly tackled in Korean cinema (well, at least not in a way that isn't overly exaggerated and caricatured way that cannot be taken seriously - I'm looking at you Personal Preference). It only got better from there, as the film was revealing itself as incredibly bare, both in terms of storyline and atmosphere, completely deprived of those corny elements which, for movies of this type, sometimes present a too easy trap to fall into. More often than not, it felt more like a stage play than anything. Namely, the story is comprised of only two characters, as we follow them around the streets of Seoul, where they play a cat-and-mouse game, from passing each other without acknowledgment at one moment, to major outbursts of emotion (in form of fighting or sex) the next. This chase doesn't ever get dire, as the beauty of it is in the details - Won Gyu's chewing gum, Tae Jun abruptly stopping and moving his bike, little actions telling us much more than an elaborate dialogue ever could. Soon, it becomes clear that sexuality isn't the only topic explored here - there are also subtle musings on class, leaving vs. staying, violence vs. compromise - all very universal in character and relatable to anyone who feels as placed in an environment that sometimes may seem hostile to them. All in all, wholeheartedly recommend it - I'll be on a lookout for other movies from this director.

NB: Don't worry, there are still iron bar fights. Always with the iron bars.

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The Berlin File (2013) – Okay, let's sum up some of my favorite things that, accidentally, could be found in this movie:

Berlin (duh)

innocent flirting with communism

colorful accents

Bae Jung Nam wearing pants

Sold. In all seriousness, it was the international character of this film that prompted me to see it as soon as it was released, and it definitely didn't fail in that department. The story was fast-paced, riddled with many different factors and players, and all together it materialized an action-packed, intriguing thriller. As these things usually go, at one point the plot became a bit too complicated to follow (or maybe it was just my horrible attention span - thanks, internet/endless scrolling - which caused me to watch the movie in three sittings), resulting in the intensity of the movie to slightly drop and, ultimately, a finale that was considerably underwhelming. Still, the bits that were tense were really tense, possibly owing to the great performance by Ha Jung Woo (how amazing is he, seriously) and Ryu Seung Bum being a brilliant bastard, as always.

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New World (2013) – Here's a little treat to everyone who liked/enjoyed/worshiped those classic Asian gangster movies, such as A Bittersweet Life and A Dirty Carnival and especially Internal Affairs, in form of a slick, neatly packed crime drama, with just the right amount of emotion and, in turn, the utter lack of it.

Following an undercover policeman who infiltrated himself in what seems to be a "corporate" mafia syndicate (code name for criminals with a penchant for three-piece suits), the movie really begins when the previous chairman is killed in a mysterious accident, leaving his successors to fight for his position through a) pre-determined, civilized and democratic means b) intrigues and backstabbing, resulting in complete bloodbath. Our unfortunate undercover Jung Sa is to be found in the middle of this epic mess, surrounded on one side with Jung Chung, who at first gives an impression of a complete caricature, but will later prove himself to be ruthless and seemingly indestructible and Lee, a bit poncey, but equally cruel candidate for the throne, on the other. The protagonist sets his mind on opting out of the whole shebang, but his senior in the police has bigger plans for him. As the movie progresses, it begins to blur the lines of betrayal and loyalty, good guys and bad guys, through a plot that to some might seem too cliche-ic and predictable, but I found it to have a steady flow, deprived of overburdening twists and overly-emotional scenes.

New World may not be a cinematic masterpiece, but it most likely has the potential to surprise, entertain and excite you about the prospect of Korean gangster movies to come.

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Doomsday Book (2012) – Both the format and the subject matter/genre of this Korean anthology film may come as a bit of a surprise, however, bar some minor shortfalls, it delivers an intriguing and thought-provoking insight into  the relationship of Human vs. Technology. The first story, A Brave New World, directed by Yim Pil Sung, is what you would probably name a environmentalist zombie apocalypse, presented with a hefty dose of political satire, as seen during the short TV montage, one of the most capturing moments of this part of the movie. In a true Yim PIl Sung fashion, the directing is a bit frantic, paying much attention to the detail and evoking the senses with vivid colors and distinctive sounds. As crafty as he is with his visual means, the overall story lacks a proper closure, as the movie just stops, rather than ends. A more well-rounded and effectively poignant in regards to its overriding theme is the part that follows - The Heavenly Creature, directed by Kim Ji Woon - juxtaposing spirituality against modernity in a clear, concise way, shoehorning as much philosophic musings as one can in a 35-minute piece. Finally, the apocalyptic Happy Birthday provides another futuristic commentary on a more immediate level, exploring family relationships in times of hardship and uncertainty. Even though it might not be terribly profound or susceptible to analysis like some other great works of sci-fi, the sheer refreshing originality of Doomsday Book (or Report on the Destruction of Mankind, its literal translation) is perfectly good enough reason to see it, with hope that Korean cinema will continue to experiment more with unexplored (or locally unconventional) themes and genres.

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Masquerade (2012) – Having a quick glance at my choice of reviewed Korean films, you will do well to find any set in the dynasty eras (alright, I watched A Frozen Flower, but we all know the underlying reasons for that), which is a fair indicator that I am probably not too fond of historical movies. I should also note that there is no particular reason for that, they're just not my cup of (royal ginseng) tea.

Last year, it was this very banal dislike that led me to skip seeing Masquerade at the Korean Film Festival, completely glossing over the fact that Lee Byung-hun stars in it, despite him being one of my old-time favorites (congrats on marriage bro, ignore the swathes of internationally-heartbroken ladies). Next day, I showed up to the same venue to watch some lameass medical disaster horror only to find out that, by missing Masquerade, I also missed what would have probably been the most glorious moment of my life if I had only been able to witness this double-combo:

SIGH. Anyway, some nine months later, sitting in my little room, temporarily prevented from doing anything meaningful in life due to a massive hail and a short-term blackout that resulted from it, possibly still lamenting the turn of events described above, I finally decided to simultaneously get over my misfortune and my dislike of historical movies and put on Masquerade.

Being aware of the praise it received upon screening, I was a bit stumped by the movies initial comical tone, although it quickly became apparent that it was there to make Lee Byung-hun's character so easily likable. As the film progressed, all the lightheartedness gradually vanished, as the movie's themes elevated to much more serious themes like HONOR! MORAL! SACRIFICE! and all those things medieval tales have a hard-on for. That being said, the lack of tearjerky scenes (don't be putting away Kleenex just yet, mind) was a breath of fresh air and the story didn't have those superfluous twists and dragged out scenes. All in all, a decent choice for an (almost) period drama rookie; and to be completely honest with you, it was this little pinko-commie display of Lee Byung-hun's character that finally sold it:

I wish it was, Lee. I wish.

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The Act of Killing (2012) – If you like your documentary filmmaking with a side of international politics and crimes against humanity, chances are you will have heard of this movie - hardly any film critics, other documentary directors, film festivals and even human rights activists managed to avoid mentioning it this year. And not just because it has a bigass "EXECUTIVE PRODUCER: WERNER HERZOG" plastered all over it. But because it is truly one of the most bizarre, inexplicable, disturbing, nonsensical projects you could possibly imagine.

It focuses on several men, self-described gangsters (or as they more than frequently like to point out, free man - with preman being the Indonesian word) who were responsible for mass killing of Communists and ethnic Chinese in the 1960s. But instead of being one of those semi-preachy political documentaries that just tends to depict things in a way that enables it to sort of manipulate their audience to feel shock/distress/(insert emotion), director Joshua Oppenheimer simply lets the protagonists do what they do best/worst, by asking from them to re-enact the killings for the sake of documentation on film. The first moment of utter disbelief is when we realize how they approach this task with suck readiness, and even worse, enthusiasm. Once the premen take the stage, the audience commences its uncomfortable journey of many emotional shifts - from outrage, disgust, complete bewilderment and even a dose of humor - I mean how could these wannabe Marlon Brando clowns commit all these atrocities and get off (seemingly) unscathed from the whole ordeal? How fucked up that society has to be in order for that to happen? The "actors" get so caught up in their own graphic and "sadistic" as they like to call it (with a sense of self-satisfaction) performances, the whole thing starts to look like a grotesque bloody circus, senseless and perplexing. What's so masterful about this movie is that it's so sincere in its display - there is no narrator whose dramatic voice off could dictate how offended we should feel, nor is the editing a tool for perpetual creation of a dramatic effect - on the contrary, everything is out in the open for us to see, yet the very filmmaking is so subtly brilliant and every silence or prolonged shot speaks for itself. This is to be experienced the best during the final moments of the film, which are thoroughly striking but nonetheless equally confusing as the rest of the film. Did we finally witness a moment of redemption? Or was it all just a final show for the camera by the vicious gangster? What exactly did we just spend two hours watching?

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The Housemaid (2010) – Last week, I was lucky enough to attend a screening of the Housemaid at the KCCUK and upon informing myself on the movie and sensing a dash of eroticism/mystery/thriller while doing so, you could already tell that along with my physical presence, my massive excitement RSVP'd as well. The expectations were indeed met in the first bit of the movie, during which the featured scenes were definitely not something you would normally witness in Korean movies (Patrick Bateman-esque flexing mid-blowjob, anyone?) and as it progressed, the atmosphere was certainly getting a Secretary sort of vibe to it. Then, some unexplained bizarre directorial twist happened, which resulted in the relationship that was the main focus of movie rapidly transforming from Spader/Gylenhaal to Colby/Carrington, and the whole things starting to resemble the stuff you'd see on Pink TV during post-lunch naptime (warning: reference of limited geographical capacity). However, this odd turn of movie's direction does not stop there and goes on to reach its climax in the final moments of the film, when a seriously odd/laughable/over-the-top scene appears out of nowhere. The closure is equally weird and pointless, leaving us with the only viable moral of the story: rich people are dicks. 

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The Hunt (2012) – Most Uncomfortable Film of the Year, anyone? Because now that I finished watching it, I feel like violently jumping up and down or watching a million of cute cat videos on YouTube to shake off the feeling of uneasiness that still seems to be crawling underneath my skin.

For those of you not familiar with the story, it depicts the frightening psychological and physical consequences a nursery teacher has to face after being wrongly accused of pedophilia. With the movie being set in Nowheresville, Denmark, you can only imagine how quickly the whole situation escalates into a full-on pitchfork-fest (and I don't mean one with lesser known trendy bands and people who button their shirts all the way up). The tightly-knitted small-town community finds ways to ostracize the easy target in no time, driven solely by sheer paranoia and unclear evidence. I also liked that it ended on a very ambiguous note - the simple situation of "oh let's all chalk it up to our ignorance and move on" just wouldn't have done justice to such multi-layered film.

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The Machine Which Makes Everything Disappear (2012) – GREETINGS FROM GEORGIA (Where? Armenia? Chechnya? CZECHOSLOVAKIA?). In all seriousness, this little documentary wonderfully depicts lives of several characters, all telling their unique stories while they're being recorded for what they believed was an audition to star in a feature film. Through them, we are introduced to many strata of Georgian society, varying from simple countryside life to Tbilisi's vibrant club scene. As apparent as their differences might seem at first, it becomes clear that all the characters share universal stories, not necessarily tied to Georgia, but relatable to virtually everyone. There stories are about love and loss, war and sacrifice, search for purpose for some and the utter lack of it for others.

It was certainly one of the best movies I've seen so far from this region, and if you don't believe me, believe Sundance - where this movie received an award for directing. All in all, this postcard from Georgia might seem a little bleak (and very muddy) initially, but ends up being quite compelling.