JSA – Joint security area – “Rice is communism” “Let’s destroy the USA”
Sympathy for mister vengeance – “The cooked pig is not afraid of the oven”
Sympathy is what we feel as much for the deaf-mute who kidnapped the little girl as for the father who is trying to satisfy his revenge; it is from this paradox that the fascination is born. All the more scabrous by its coldness than the other parts of his trilogy, it is, indeed, there that resides all the virtuosity of Park Chan-Wook: carefully avoiding identifying the protagonist once hit the other.
Old boy – “Laugh. Everyone will laugh with you. Cry. You’ll be the only one to cry”
Park Chan-Wook deploys a disturbing staging (the pulling of teeth with the back of a hammer) and in a delectable mixture of subjugation and violence (the fight scene filmed laterally in the hallway).
Duly significant of the Korean cinema where the feelings arrived at their paroxysm prevail: one howls, one collapses of melancholy, one bleeds there abundantly. Questions that find their disturbing answers in a flamboyant finale.
Lady Revenge – “He wants to kill her because he loves her. Wouldn’t you do the same? »
Started by Sympathy for mister vengeance, cleverly closes Park Chan-Wook’s trilogy with a recurring theme of revenge. But this time, the reprisals benefit from an elegant feminine touch, where its predecessors were only raw violence; she embodies duality, both “witch” and “angel”.
Much less violent than Old boy, everything is in psychological turmoil.
I’m a Cyborg – “I hope the neon in the bedroom is friendlier”
This morning, I watched an Asian comedy and the least we can say is that it was a particular delirium. Notwithstanding the tragic aspect of the situation that unfolds in a psychiatric hospital, the director only retains the funniest side of the madness. We must omit all that we have seen violent in Park Chan-Wook so far to adhere to this reverie.
Highly inspired by Tim Burton’s films aesthetically, I advise against I am a cyborg to those who would be intolerant with this extravagant rambling, this barred poetry.
Thirst, This Is My Blood – “Koreans don’t like Mahjong enough”
Park Chan-Wook nimbly reorganizes the codes of vampiric footage. Thirst, this is my blood takes its time introducing vampires. But it doesn’t matter because afterwards we see sexual urges and alcohol as an allegory of this frantic quest for blood. It is the relationship between a man and a woman that is the other major theme and their influence on each other.
Stoker – Botoxed old woman and deified young girl
It’s a vampire movie as the title reminds us but not the most classic. Thus we are entitled to a visit from Uncle Charlie, a kind of tribute from a dilapidated L’ombre d’undoubt. Implied lyricism gives way to indelicacy in a shower scene full of morbid undertones. The acting performance would almost be spoiled by a Kidman, all puffy due to an excessive use of cosmetic surgery but fortunately caught up by the intervention of a curiosity named Wasikowska.
Miss – “In such a house, do you know what is expected of a servant? »
A thriller tinged with eroticism resembling La vie d’Adèle about Sapphic love, Mademoiselle is Hitchcockian in its duplication of points of view. A comforting eroticism on the one hand with the sensuality, hedonism and lasciviousness of two women during very explicit antics and on the other hand cold during the speeches read during sadomasochistic madness with the model. The film shakes up several times the notions of puppet and manipulator.
Decision to leave – “Ants eat people? »
Tasty mix of cold sweats and Basic instinct, the film revisits the concept of femme fatale. Much less violent than what Park Chan-Wook has accustomed us to, but doesn’t the formal aspect take precedence over the substance? Apart from these majestic shots, the footage errs on the side of sophistication. Indeed, the narration is somewhat complicated with its confusingly initiated flashbacks; in any case, they prohibit any efficiency.