If you asked Cinephiles about Park Chan-wook’s contract as a filmmaker around 2006, the answer was wonderfully simple. “He’s the man in Korean revenge movies.” Park’s ‘Revenge Trilogy’ — Unrelated but Simple Dark His Thriller Sympathy for Mr.Vengeance, oldboyWhen Lady Vengeance — crossed borders at a time when America was rarely seen defending breakout hits from other countries than it is today. oldboy‘s famous “Hammer and Corridor” battle helped put Park’s name on the map, but these three films (not his first, but the most famous of the time) also It pigeonholed him as a director with very specific interests and preferences.
Since then, Park has become harder to locate.his 2009 horror movie thirst A bleak vampire love story with more than a touch of sly comedy.Park’s English debut stalker It’s a bizarre misfire, with Mia Wasikowska, Matthew Goode, and Nicole Kidman pitting each other against each other in a sort of lush drawing-room psychodrama that balances horror story and period drama.Park participated in espionage little drummer girlrom-coms cyborg but okand Literary Crime Drama young ladyAnd his latest, perfectly made Decision to move outis both a police procedural and a love story, the kind of film that floats lightly from one genre to another and doesn’t quite land until its final, devastating moment.
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Decision to move out It articulates certain agendas in Park’s highly diverse filmography. He is an obsessive obsessed man. Time and time again, his protagonists put their obsessions in their minds and relentlessly pursue them no matter what the cost.of oldboyit’s a man obsessed with finding out who locked him in a makeshift cell for 15 years and then dumped him on the street without explanation. thirst, it is a vampire bent on self-destruction. In his love story, people fall in love with each other, pulling away from their previous tracks to their new ones. and, decision to leave, It’s a man obsessed with solving murders, even if it destroys him and the woman he loves.
From the beginning of the movie, police detective Hae-jun (Park Hae-il, Bong Joon-ho’s memory of murder) as a man who doesn’t fully know how to live outside of work. He lives in the city during the week and visits his wife on the weekends for classy sex and calm and friendly times, but his mind is always elsewhere, especially when he suffers from insomnia at night. It seems to be in It will take Park and co-author Jung Seo-kyung a while to reveal exactly where his heart is heading in the dark.
When Hye-joon is called in with what appears to be an accidental death, he meets the dead man’s soft-spoken widow, Seo-rae (desire, attentiontangway). Carefully, he examines the idea that she may have staged a particularly clever and well-planned murder. At the same time, he is tenderly and infatuated with her. The two pursue a cautious, non-physical relationship — Park says her one of the main inspirations for the film was her 1945 soap opera of David Lean. short encounter, about two married people who have an emotional affair that has no chance of surpassing a kiss. But in the process, Seo-rae begins to get under Hye-joon’s carefully crafted shell, exposing her obsessions that she doesn’t reveal to anyone else.
Decision to move out Needs some big narrative turns, but nothing like a surprise! Plot! Twist! Gasp the audience and try to catch up. This is a slow-burning movie, paced like a Wong Kar-Wai romance (in the mood for love It comes to mind more throughout this film than Park’s early potboiler thrillers. At 138 minutes long, it’s paced for the patient viewer who wants to remain in the quiet space between detectives and suspects, pondering each new piece of evidence in the murder case. This is a particularly rich version of whodunit, but one clue builds into another and follows a format as Hye-jun’s suspicions coalesce.
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Decision to move out Ultimately it comes down to the shocking extremes Park is known for, but first it courts an audience that can enjoy careful technique and elegant world-building. found out that Sorae is from China. When meeting new people, she apologizes for her “poor” Korean, but the subtitles never suggest she speaks clumsily. When she is, she speaks into her phone’s translation app and looks down at Hye-joon as the device explains things in straightforward and poetic language. Seo-rae spends her off-time caring for an elderly woman at her home, and Hye-joon is doing just as well following in her footsteps.that leads him Korean song “Mist” what defines your relationship with him Sole. The movie returns many times to the idea of Hye-joon carefully tailoring her clothes to add her extra pockets. It’s full of everything a person could need. This is something that both my wife and Sorae use casually.
All of these little ornaments feel like distractions in the film, until they reappear enough times to define character traits, how you can understand who these two are. People also hide a lot from the world and from each other, including their feelings for each other. But Park and Jeong reveal their lead through side details, making both characters sharp and edgy to interpret what those details mean. at first, Decision to move out It may not look like the kind of macabre fantasy romance that builds fandom. be attentive enough and see clearly enough to fully understand each other. .
That’s not the only thing on Park’s mind. Decision to move out, which eventually unfolds a second murder mystery that once again complicates Reid’s romance before crashing into a spectacular ending. But while the procedural story occupies a significant amount of screen time, the emotional story is at the heart of the film and is the one most likely to linger in the audience’s mind for the longest and most tangible. As a story, it lacks the exuberance and dynamism of his early action films. As a portrait of obsession and regret, it’s very sophisticated and satisfying. He now expresses those interests differently, not with the blunt end of a hammer, but with gentle conversations in memorable locations.
Decision to move outSouth Korea’s 2022 Academy Award Best International Feature Film submission, will be released in the United States in a limited theatrical release on October 14, with a broader release beginning October 21.
