Park is not any stranger to the pageant, having gained the Grand Prix for “Oldboy” in 2003 and final appearing with “The Handmaiden” in 2016. Explore the historical past and individuals who run Cinema/Chicago & be part of the staff. See which movies impressed critics on the just-concluded 75th Cannes Film... Here what at first looks like curiosity, shortly turns into an obsession. An obsession that does not appear to be repressed and but by no means explodes although the 2 people involved are absolutely conscious of the scenario, and both reciprocate their emotions. The only fault that can be taken from the film is expounded to the script.
He really units up Hae-jun as a rational creature so he can then unmoor him from his routines and see what occurs. And he’s wonderfully playful here with the theme of communication—Seo-rae speaks Korean but typically has to use a translator app from her native Chinese, highlighting how these folks aren’t actually speaking to 1 another in a direct manner. I virtually needed extra of this playful spirit, more of a sense that these are two individuals who turn into embroiled in a dangerous state of affairs who can never actually see each other by way of “The Mist,” which happens to be the name of Seo-rae’s favourite track.
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But it’s still an incredible shot of pure Park — suave, sophisticated and sexy. Not to say very probably the best erotic cop thriller ever. Like Seo Rae's costume, some people suppose it's green; others see blue. The wallpaper in her house reveals patterns of mountain peaks, but upon closer look, they look like 1000's of waves crashing into one another. The mountain and the ocean appear so shut, but are all the time out of each other’s reach. If the sensible love the water and the benevolence the mountains, the lovelorn will always select to remain behind in the earth.
As the very married Hae-jun seeks to get rid of the newly widowed Seo-rae as a homicide suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered by way of an anal-retentive take on Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects murder. As the police examine the scene, Park mounts a formalist present that ought to be the envy of even that master of cinematic homicide investigations, David Fincher.
Throughout, one often feels the plot working against Park’s poetry, though in a couple of circumstances poetry wins out, especially during a beachside disappearance that, rife with gurgling waves and inchoate agony, suggests the climax of Robert Altman’s The Long Goodbye. Here, a close-up of a hand closing, sealing its fate, is heartbreakingly beautiful. It’s a pity that we barely know why the proprietor of this hand is compelled to die to start with. An early interrogation scene embodies all that’s proper and wrong with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to every factor that doesn’t instantly matter to his story.
"And I guess there's the similarity of actor Park Hae-il also having acted in director Bong's films ('Memories of Murder' and 'The Host')." "Decision" (now in theaters in New York and Los Angeles; expands nationwide throughout October) begins with a loyal longtime cop named Hae-jun (Park Hae-il) as he investigates a businessman's fatal fall from a mountaintop. The man's elusive widow, Seo-rae , is recognized as in for questioning and reveals little emotion about her husband's death, even laughing during the police interrogation. But he has the ultimate excuse to spend time with her — he’s investigating her for murder. Not probably the most romantic of situations, but certainly efficient. A police investigation doesn't exactly make for meet-cute moments, however Park has a way of wringing drama and import out of just about anything; when Hae-joon questions Seo-rae in a police examination room after which sends out for sushi, it plays like a really odd first date.
At as quickly as a masterfully-crafted police procedural and an incisive meditation on the character of love and identity, Decision to Leave is a tour-de-force of neo-noir filmmaking. Hitchcockian to its core, the film’s gleefully twisting plot keeps audiences guessing as it spirals toward an epic conclusion. Winner of the Best Director prize at the Cannes Film Festival, veteran auteur Park Chan-wook expertly weaves together each intriguing thread as he spins this haunting tapestry of homicide, madness, and deceit. The fact is that the primary half of this film, despite its very robust craft, has a script that might have been a Bruce Willis erotic thriller within the 1990s with barely a rewrite.
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The unorthodox relationship in this movie is probably the one we’re most familiar with—an intimacy between a male detective and his female suspect. Hae-joon (Park Hae-il, who had a supporting function in Bong Joon-ho’s masterful procedural Memories of Murder) is a workaholic insomniac, a detective with a punishing commute and a clinical-feeling marriage. Park Chan-wook’s movies frequently concentrate on outsiders to regular society, those trapped within restrictive roles and consumed with singular, destructive beliefs. But what makes his work so reliably transcendent are the unorthodox relationships that seem between the individuals who recognise their own alienation in others. The plot is so pointlessly difficult that one can hardly ever savor the characters or luxuriate in the atmosphere, as Park supersizes all of the most interminable qualities of a typical procedural. Park Chan-wook believes all his films are romances at coronary heart, however he deliberately leans into rom-com tropes with "Decision." Like many lonely rom-com heroines we have seen earlier than, Seo-rae falls asleep in front of her TV with a pint of ice cream each night.
Am an enormous fan of Chan-wook’s films, but got a sinking feeling half-way through, that we have been in a cluttered, inchoate territory, and the experience was changing into more and more, somewhat bafflingly, less-than-satisfying. Not in the same league as The Handmaiden or Oldboy, IMHO. Like "Parasite," "Decision" had its world premiere at France's Cannes Film Festival in May and has been chosen by South Korea as its official entry for this yr's greatest international language movie Oscar. But the 2 motion pictures could not be more different in type or tone. "It's a really completely different crime film than what we're used to," Park Hae-il adds.
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Throughout, one usually feels the plot machinations working towards Park Chan-wook’s poetry, though in a couple of instances poetry wins out. The only misstep of the entire movie comes in the final minutes as Park oddly permits the ending to swing into melodramatic territory, which clangs in opposition to every thing that’s come before. Perhaps he noticed it as the earned moment to open the emotional valves, considering how properly he modulated such measured restraint all through. How it lands total with audiences is going to return down to private taste, but for me it was the one place the place “less is more” got here to thoughts.
The lead investigator, the sleep-challenged Hae-joon (Park Hae-il), is immediately and conspicuously drawn to her. By contrast, the other detective, Soo-wan (Go Kyung-pyo), the man with the electrical massager, is more leery, harshly noting that she doesn’t seem particularly upset by her husband’s dying. Hae-joon replies that his wife wouldn’t be both, a revelatory comment a couple of man who proves extra sophisticated than he appears. It's close to impossible to watch Decision To Leave without reminiscences of Basic Instinct ice-picking their means into your thoughts. The film may be set in misty South Korea as an alternative of foggy San Francisco, however current and correct is a rumpled, obsessive police detective, plus an enigmatic, mesmerising female suspect who might simply be kill-crazy.
As Hae-Joon snaps photos of the corpse along with his cellphone, ants crawl over the useless man’s eyes, a flourish that embodies broken vision whereas suggesting that the macabre jokester that helmed Oldboy hasn’t left the building. It appears odd that murder proof could be gathered on a private cellphone, as it seems to be a readymade method to compromise an investigation, and Park wants you to note the strangeness of such details, which establish the fragility of our hero. Hae-Joon isn’t ferociously competent within the tradition of Law & Order cops, however distractible and ripe for manipulation within the mold of J.J. Park Hae-il is riveting as a storied detective knocked again on his heels by love, while his overzealous protege serves as a buzzing comedian relief. But Tang Wei dazzles as a woman who refuses to be pinned down by this lovestruck man or his need for black-and-white descriptors. When they speak, it is with an intimacy so profound that it seems like we're eavesdropping.
They get excessive reward, maybe simply because they are international and the "it" thing. Why did the police even suspect the first demise was a homicide in the first place? (They began investigating and stalking the wife even earlier than there was any point out of DNA discovered underneath the useless man's fingernails.) What was the thing with the second husband anyway? This movie just isn't a romance nor a thriller nor a thriller nor anything that matches into any genre. It is a far cry from Oldboy and the director should stop making films if this is how much he has regressed since his heyday. I would like to give this movie a zero to counterbalance all the 10-ratings.
Even if Hae-jun and Seo-rae were in different places in numerous times, Park continuously cuts their looks collectively. As a outcome, there is this steady impression of a gaze that defies dimensions of space and time within the poetic house of the movie. By technique of editing, Park creates a luring kaleidoscope of ambivalent feelings. At times, this formal method would possibly make the following of the story a little challenging for the spectator, but the information of the story don't in the long run seem to matter that a lot.
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Tang Wei is initially equally riveting, and the cat and mouse recreation playing adds a way of intoxicating hazard for each of them. But as each damning clue about Seo-rae is revealed, there appears to be a rational explanation from her perspective. When a chunk of evidence reveals itself, the diminishing sense of ambiguity permits him to remove himself from his curiosity and as soon as again concentrate on his marriage. His skilled self-exile to the much smaller Ipo proves to bring again his insomnia and eternal restlessness with a vengeance…until Seo-rae pops up again.
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However, it doesn’t mood how confident, memorable, and eloquent Decision to Leave is. And just if you suppose the story has revealed itself, Chan-wook introduces a flip that reframes every thing we predict we know concerning the characters and then puts them on a brand new path that carries the film into surprising territory. The change solely amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love energy that’s simply as riveting and swoony.
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And in comparison with the powerhouse first hour and crackerjack ending, the center part sometimes feels baggy. But it’s still a tremendous shot of pure Park — suave, refined and attractive. Not to say very possibly the best erotic cop thriller ever. Decision to Leave movie embodies all that’s right and incorrect with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to every component that doesn’t instantly matter to his story.
Her Husband...quickly they understand that her husband abused her in past soo she is not regret for his dying.. Co-written & directed by Park Chan-wook (Joint Security Area & Thirst), the story issues a police detective who falls for a mysterious widow who occurs to be the prime suspect of his newest homicide investigation. The plot has multitudes of layers to it and is narrated in ways that requires nearer inspection and while the technical mastery is top-notch, the movie is surprisingly missing the immersive quality of his greatest works. Yet Chan-wook, who co-wrote the script with Jeong Seo-kyeong, doesn’t make Decision to Leave a whodunit, however quite an exploration of this relationship between Hae-joon advert Seo-rae. Chan-wook expectedly balances each side of this story fantastically, allowing either side of this story to go in unexpected directions.
The proven fact that a good, well-made thriller feels almost like a disappointment given this creator’s pedigree is just a testomony to the work he’s produced earlier than. Communication is thus clouded not just between characters but also the film's narration and the spectator. Both Park's style and narration obfuscate the sense of space and time. The advanced plot is informed in a fast pace, and narration retains jumping back-and-forth between scenes, a lot of which have been executed with unprecedented innovation. For only one instance, there's a scene where Park is prepared to combine Hae-jun in mattress along with his wife, him watching mold on the nook of their wall, Seo-rae watching a Korean cleaning soap opera, and x-ray images associated to the crime.