Dir. Kim Ki Duk 김기덕

Arthouse Writer/DirectorThought it would be interesting to see what other people thought of this director and his movies.

Biography (Stolen from Wikipedia/IMDB):

Kim Ki-duk was born on December 20, 1960 in Bonghwa (Kyongsang province), South Korea. He studied fine arts in Paris 1990-1992.

In 2004, he received Best Director awards at two different film festivals, for two different films: at the Berlin International Film Festival for Samaritan Girl, and at the Venice Film Festival for 3-Iron.

He studied fine arts in Paris in 1990-1992. In 1993 he won the award for best screenplay from the Educational Institute of Screenwriting with A Painter and A Criminal Condemned to Death. After two more screenplay awards, he made his directorial debut with A Crocodile (1996). He then went on to direct Yasaeng dongmul bohoguyeog (1996), Paran daemun (1998) ("Birdcage Inn"), The Isle (1999) (selected in competition at Venice 2000) an the highly experimental Shilje sanghwang (2000) ("Real Fiction"), shot in just 200 minutes. In 1999 _Soochwieen bodmyung (2001)_ was selected by the Pusan Film Festival's Pusan Promotion Plan (PPP) for development.

Filmography:
Crocodile (악어) 1996
Wild Animals (야생동물 보호구역) 1996
Birdcage Inn (파란대문) 1998
Real Fiction (실제상황) 2000
The Isle (섬) 2000
Address Unknown (수취인불명) 2001
Bad Guy (나쁜 남자) 2001
The Coast Guard (해안선) 2002
Spring, Summer, Fall, Winter... and Spring (봄여름가을겨울그리고봄) 2003
Samaritan Girl (사마리아) 2004
3-Iron (빈집) 2004
The Bow (활) 2005
Time (시간) 2006


I've heard some people refer to his films as pretentious. But I can't really see how that is possible with so little dialogue. Richard Linklater films, however, I could definitely see why people would consider that pretentious. But I actually like his films, too. Anyways, this guy kind of makes really wacky movies. I first heard about him when I saw that Spring movie. I didn't really like it, though. Although it got a lot of praise. Something about having lots of symbolism and stuff. I don't like to think too hard when I watch a movie so I didn't want to bother figuring out any symbolisms. This was probably one of the reasons I didn't really enjoy it.

Other movies I've seen of his were The Bow, Bad Guy, and The Isle. In that order. I actually saw The Bow on tv. It was in Korean, which I don't speak. But with most of his movies, it has very little dialogue and you don't really need to know Korean to watch it. The Isle was far and above my favorite out of the four I've seen. I don't think I'll be rushing to see any more of his movies, though. After watching Isle, I began feeling like I've had enough. (Even though it was my favorite.) His movies all seem to be too similar to one another in mood/atmosphere and direction. Although I did hear Time was a lot different from what he usually does.

Hi there, actually... you're the first person who started a thread on someone who is not an artiste (actor/actress/singer/MC) at this section. Btw, you don't have to go through pages and pages to search, a simple check at the Directory thread would save a lot of time.

Official Threads Directory

http://www.soompi.com/forums/index.php?showtopic=318

Nonetheless, it's good to see a thread just for Dir. Kim Ki Duk (a first of more to come, perhaps?)... there're several threads for his movies, though. I've only seen 3-Iron... but totally & simply loving the movie despite the non-existing dialogue. Maybe because it's also the least graphic(?) & complicated work that he ever did.

Not well-informed enough to really post deep thoughts on his work but we have some of KKD related articles posted at the News thread.

Very good initiative IMHO.

A tread about a director is much more interresting that one about actors - which most of the time runs to fan service : "OMG ! SHK is gorgeous and LYK is soooo cool !". And so few actors had coherent filmography, contrary to directors.

Anyway, I think Kim Ki-Duk is one of the most important contemporary Korean directors, with Lee Yoon-Ki and Jang Sun-Woo (if he can do movies again... ).

Not all his movies are good (I personnaly hate Spring, Summer... ) and his movies often look like the others (The Isle, SSFWS, The bow) but I like his vision of the cinema - he's against the trend of today's Korean cinema (that I mainly don't like). Anyway, he's got his own failing...

I saw approximatly half of his movies. My favorite is The Isle. I also like Time (maybe the best korean movie I saw of 2006) and 3-Iron.

But I aaarrgg ! hate SSFWS

His movies all seem to be too similar to one another in mood/atmosphere and direction. Although I did hear Time was a lot different from what he usually does.

Yep, Time is "different", at least different from the caricatural image of Kim Ki-Duk we often see.

But It can be related to Samaria (to its first part if I remember well, but I saw this film long time ago) and maybe Address Unknown. I mean, a lot of Kim Ki-Duk movies look like islands out of time, but Time is definitly settled in reality.

But there are always some "KKD touch", madness, "violence", depressive mood and so on...

Very good initiative IMHO.

A tread about a director is much more interresting that one about actors - which most of the time runs to fan service : "OMG ! SHK is gorgeous and LYK is soooo cool !". And so few actors had coherent filmography, contrary to directors.

Anyway, I think Kim Ki-Duk is one of the most important contemporary Korean directors, with Lee Yoon-Ki and Jang Sun-Woo (if he can do movies again... ).

Not all his movies are good (I personnaly hate Spring, Summer... ) and his movies often look like the others (The Isle, SSFWS, The bow) but I like his vision of the cinema - he's against the trend of today's Korean cinema (that I mainly don't like). Anyway, he's got his own failing...

I saw approximatly half of his movies. My favorite is The Isle. I also like Time (maybe the best korean movie I saw of 2006) and 3-Iron.

But I aaarrgg ! hate SSFWS

Yep, Time is "different", at least different from the caricatural image of Kim Ki-Duk we often see.

But It can be related to Samaria (to its first part if I remember well, but I saw this film long time ago) and maybe Address Unknown. I mean, a lot of Kim Ki-Duk movies look like islands out of time, but Time is definitly settled in reality.

But there are always some "KKD touch", madness, "violence", depressive mood and so on...

I might have to pick up a copy of Time. But like I alluded to earlier, his unique style does seem to get old fast. He has a new movie coming out in 2007/2008 called Breath. With Time being a tad different, maybe this one will continue in that direction. I'd really like to see what Kim Ki-Duk can do with a different type of movie.

I like all kinds of movies. Even those typical romantic-comedies. I mean, if they're done well. I've seen a lot of bad Korean movies, though.

I've watched all of his works except..'Crocodile' and 'Address Unknown'..cool director..

Tho' his movies are nearly quite similar i think..

March 29. 2007

Kim Ki-duk's New Work Sold to France

Director Kim Ki-duk’s 14th film “Breath” has been sold to French distributor ARP before its domestic release.

Film marketer CineClick Asia said Tuesday that it sold “Breath” at the Hong Kong Film Market held from March 20 until 23. The French distributor is devoted to introducing Asian movies to the country. Kim’s latest work had also been sold to other 10 nations including Spain, Italia, Mexico, Greece and Belgium.

The marketer also sold “Seducing Mr. Robin” starring Daniel Henney and Uhm Jung-hwa to Japan’s Geneon Entertainment. It is expected to be released in the island country late this year. “Oasis” and “Friends” were sold to Britain, “The Birth of a Family” to Greece, and “The Host” to Hungary.

Source: KBS Global

http://english.kbs.co.kr/entertainment/new...7267_11858.html

This guy drive me crazy. and i love it.

I've seen 3 iron, the bow, time and samaritan girl, and i think i'm going to watch next Spring, Summer, Fall, Winter... and Spring.

3 iron a looooove it, not only for Jae Hee xD but, it was so gorgeous the relation between them, so fresh & with a lot of balance....i love it!

Samaritan girl got me on shock, it was so....i dont know, but i Like it. The Bow was weird,(at the final I was like wtf?) but the one who i dont understand at all was Time. The final was so....it has no sense!

time final-spoiler-question

Because she change herself two times, but in the end she crash with the first her...so, that's means it wasnt her? I've been months thinking about that! xD

I'm looking so forward to the next movie, it's one of the few directors that makes me think while i'm enjoying the movie.

Director Kim Ki-duk’s 14th film “Breath” has been sold to French distributor ARP before its domestic release

time final-spoiler-question

Because she change herself two times, but in the end she crash with the first her...so, that's means it wasnt her? I've been months thinking about that! xD

I think I already answered in the Time tread. Your vision of the movie is too much litteral.

<Spoiler>

Time is a movie about renewal. The girl has the dream of become a new one for her boyfriend, have a new start. Because she doubt and because she regrets. Thus, the cyclic ending, even if it can be seen as stereotypical and artificial, is in fact a formal illustration of this idea : restart again from the beginning.

And the two last shots (the crowd in the street and the two hands submerged by the water) are wonderful IMHO : she wanted to be lost in the mass, to disappear, to become anonymous in order to be revealed again to the man she love.

</Spoiler>

I initially had a lot of reservations about watching 3-Iron because arthouse has never impressed me on any astounding level. Someone at imdb said once, "I find them horrendously boring at best and obnoxiously absurd at worst," which sums up exactly how I felt too. But then since I loved Jae Hee so much, I finally caved and gave it a try. It definitely isn't a movie I'd pop in over and over again, but it was surprisingly charming and just... simple. Wasn't trying too hard to be something, it was just very comfortable in its quirks. I liked it more than I thought I would. I really liked some of the angles this director chose.

Sunday, April 1, 2007

'Breath' resuscitates director Kim's breathless career

Stop breathing for a moment. A lack of air feeding the brain might make you a little bit dizzy. But this simple experiment is at the heart of what director Kim Ki-duk wants to express in his 14th film "Breath."

"Breath" offers only a couple of shocking scenes, which is truly surprising given that Kim has built his colorful career by making movies that test the limits of violence and explore how far extreme situations can go.

The movie starts with a small melodramatic set-up. Yeon (Park Ji-ah) discovers that her husband is having an affair. When she struggles with a sense of depression and helplessness, she happens to watch television news about an interesting incident.

The news is that Jang Jin (Chang Chen), a death-row inmate, has attempted to commit suicide, but failed to pull it off, at a local prison outside of Seoul. Jang ends up losing his voice. Yeon gets intrigued by Jang's strange behavior and attempts to meet him in person, even telling a lie that she is his former girlfriend.

With the help of a generous security chief of the prison (played by director Kim himself), Yeon is granted a brief meeting with the inmate who cannot speak but has plenty of time to listen to her story.

Yeon starts a confessional monologue which describes her childhood drowning experience. She has survived, thankfully, but she still remembers the strange sensations associated with the sudden inability of breathing in water.

Her candid talk has pulled the heartstrings of the inmate whose only hope is to die sooner rather than later. Their relationship gets deeper as she decides to offer her gifts to Jang and visits the prison repeatedly.

Her gift is incredibly ambitious. She wants to present four seasons to Jang. Although her motive is not clear, the impact is incredibly colorful and powerful. When Yeon puts on a spring dress and decorates the prison meeting room with images of bright-colored flowers, the previous dark image of the prison - and imminent death - disappears.

Also notable is Yeon's singing. She sings a song about the springtime quite casually. Strangely, her lively and loud performance comes almost as a shocking moment that lifts the film's overall mood to a level not seen in Kim's previous films.

When the season changes into summer, Yeon prepares the sunny setting, infusing sparkling images into the prison meeting place, again. Her musical performance, this time about a summer beach, is equally unsettling and refreshing because of the sheer explosion of her unfiltered emotions.

All this unrealistic encounters between a talkative housewife and a speechless death-row inmate are also being monitored by the security chief, whose image is only seen through the reflections of the security camera's monitor.

Somebody else is also watching the comic yet thought-provoking scene - Yeon's husband. Though still struggling to over the guilt feeling involving his own extramarital affair, he tries to persuade Yeon out of the prison visit and save the marriage. But Yeon's march to the prison seems unstoppable.

As with director Kim's other films, symbolism abounds in "Breath." Yeon and Jang, though their living conditions are markedly different, are dealing with almost the same problems of shattered love, betrayal and alienation.

Their communication takes place in a cramped space in the prison but director Kim's cinematic techniques break the limitations of the material boundaries. The voyeuristic security camera reveals the mesmerizing dynamics of human interactions when character's inhaling and exhaling are interconnected through a precarious emotional outburst.

Director Kim seems to have softened his cinematic approach in "Breath" because he does not resort to violence and extremism - at least explicitly. Instead, he explores various issues that plague the human nature, opening some room to breathe on the part of the audience.

Meanwhile, the movie has gone through a breath-taking filmmaking process. Kim completed the low-budget film which cost just $265,000 in only 10 shootings. But do not expect the film to be breezy in terms of cinematic power. Just as Yeon delivers the four seasons to Jang in the normally nondescript place as a prison, director Kim creates the eternal cycle of inhaling and exhaling - repetitive and essential human condition - with a breathless style.

(insight@heraldm.com)

By Yang Sung-jin

Source: The Korea Herald, Cine21

https://www.koreaherald.co.kr/SITE/data/htm...00704020009.asp

04-01-2007 18:46

Director Is Back, Milder

By Kim Tae-jong

Staff Reporter

Famous filmmaker Kim Ki-duk is back with a new film. And he is visibly a lot milder.

Kim was at the center of attention last year after his harsh remarks and ensuing apologies about the film industry in Korea touched off controversy when he released his 13th film. He threatened not to make a film if it would not attract over 200,000 moviegoers and criticized the popularity of the mega-hit film "The Host."

"There has not been much change since last year. But I just wanted to erase all those bad memories and keep working with those who have supported me," Kim said Friday during a news conference at Sponge House theater in Chongno, downtown Seoul, after the preview screening of his new film "Breath."

The director, who is often regarded as a maverick in the local film scene, showed up Friday without wearing sunglasses as he did last year. Instead, he wore a mild smile on his face, and answered all questions from reporters sincerely and sometimes humorously.

"We learn a philosophy of irony in our life _ darkness becomes brightness and brightness becomes darkness. Last year was the time when I learned it," he said.

The philosophy of irony can be Kim’s career itself. Although he has become an acclaimed filmmaker on the international festival circuit, winning awards at international film festivals and drawing moderate commercial success overseas, most of his films were commercial flops in his own country.

His bitter experiences at home led him to think that he had failed to communicate with local audiences through his films, resulting in the critical remarks.

"My remarks were not just over a wish for commercial success. It was more of a desire to see diversity in local films at a time when just one film (The Host) drew more than 100 billion won in box office sales," he said.

His new film, "Breath," is a story of a woman who meets a man sentenced to death in a prison. Through the odd relationship with the criminal, she is able to heal her inner pain from her husband who indulges in a love affair with another woman.

The film stars Taiwanese actor Chang Chen and local actor Ha Jung-woo. Kim even takes a small role in the film _ as a prison officer.

"The film is quite accidental from beginning to end. But casting myself for the role was not an accident. The decision was made by our directing staff," Kim said half-jokingly.

It is the second time that he has appeared in one of his films _ the first being in the 2003 drama "Spring, Summer, Fall, Winter...and Spring" where he played the main character's adult role in the last 20 minutes of the film.

Apart from acting, Kim found it difficult to complete the new film because of its tight production budget of 370 million won.

"I don't expect the film to attract a large audience. I think slashing budgets is the only way the Korean film industry can survive," Kim said.

Regarding his future, he said he has still has many stories he wants to unfold on screen.

"I'm confident as a low-budget film director. Now I’m happy without wanting anything more. But, in my mind, I still have some 10 more stories to tell. I’ll do my best with those who have supported me," Kim said.

e3dward@koreatimes.co.kr

Source: The Korea Times

http://times.hankooki.com/lpage/culture/20...18460411690.htm

April 03, 2007

A meeker director takes center stage

On stage, there was a beautiful actress, a handsome actor and a new face to the big screen.

But all eyes were on director Kim Ki-duk, who sat quietly Friday during the screening of his new film, “Breath.” Kim decided to open the screening and chat with reporters who have been critical of his work. Kim was back after abruptly calling it quits last summer. At the time, he expressed huge disappointment with domestic audiences (and the press) who he said don’t understand his idiosyncratic cinematic world. He criticized the virtual monopoly that Bong Joon-ho’s movie “The Host” held in theaters, which upset fans of the mutant monster movie.

Kim went on, sarcastically calling his own work “mere garbage” and declaring that it will no longer be released in Korea. Despite the international acclaim his movies have received, he has often been criticized for his cruel depiction of women. Kim made it clear that he did not appreciate local feedback either.

“But don’t expect to hear any more surprise comments from the director today,” said Cho Sung-gyu, head of Sponge and co-producer of Kim’s new film. “Please ask only about the film.”

Taiwanese actor Chang Chen, left, plays a convict

in love with a character played by Park Ji-ah

in Kim Ki-duk’s new film,“Breath.” Provided by Sponge

Kim sat with a cap pulled low over his face, but he did not wear the usual sunglasses or the grim face he usually makes when responding to criticism. He looked much softer and smiled, nodded to acknowledge each question directed to him. He apologized if he offended a questioner and remembered to say “thank you” after each question.

“I actually have plans to make at least 10 more films I have in my head so far,” Kim said. “I think I can make a blockbuster with 1 billion won ($1 million) and I have the confidence to make it better than a 10 billion won blockbuster.

“I want to finish them [my movies], and if people who have been helping me stay on my side, I think it’s possible.

Kim Ki-duk, waiting for questions from the domestic

press, who have in the past been critical of his work. [YONHAP]

“I know, I, Kim Ki-duk, am a director who carries lots of baggage, but I thought a lot about my past [behavior] before I came to meet you,” he said. “Maybe my interest toward the world, the energy, the enthusiasm has diminished [compared to the past]. I think I am just less greedy now.”

He also used a touch of humor to lighten the fact that his films have a limited Korean market, which can make it hard to find actors.

“There are plenty of famous foreign actors and actresses out there who want to participate in my future films,” he said with a grin.

Toward the end of his talk, he finally expressed what he felt about last year’s incident.

“I said that [last year] because I had lost hope that the Korean audience would be able to enjoy various genres in theaters,” he said.

“Breath” is Kim’s 14th film. Like his previous ones, it was made with a small budget. This time he spent 370 million won. The movie is about a relationship between a married woman and a man on death row. Chang Chen, a Taiwanese actor from “Crouching Tiger, Hidden Dragon,” plays the convict.

The film is yet to be released in Korea, but Kim sold it to a French distributor, ARP, according to the Seoul-based film marketer CineClick Asia. It is also seen as a likely candidate for screening at the Cannes Film Festival.

By Lee Min-a Staff Writer [mina@joongang.co.kr]

Source: English JoongAng Daily

http://joongangdaily.joins.com/article/view.asp?aid=2874046

This might have to be the next Kim Ki Duk movie I see. Once the dvd comes out with the subtitles, of course. I hope it releases in Korea, though. Seems like there was a lot of controversy.

The story kind of reminds me of this other movie Our Happy Time (우리들의 행복한 시간). The whole deathrow immate and emotionally unstable female falling in love. It was a really good movie, albeit a little cliche. Although knowing Kim Ki Duk, it'll probably be a totally different type of movie.

haven't really seen his movies yet.. but hey, we share the same birthday! cool.. hmm.. which movie of his would you guys recommend?

I think you should watch 3-iron, and if you like it, you should try others, for me 3-iron is the most confortable of what i've watched of him, very meaningful but at the same time very simple.

Epikt, thanks for the Time explanation, i though that too, but, what i didnt get is that at the beginning she keeps the photo...and I completely misunderstood it. Thanks any way!

I think you should watch 3-iron, and if you like it, you should try others, for me 3-iron is the most confortable of what i've watched of him, very meaningful but at the same time very simple.

Yep, 3-Iron is the easiest to begin with KKD's filmography.

But there is a problem, if most of the people agree with the fact his films are inconsistant, they all have different though about which is the better and which is bad

Date: April 03, 2007

Lauded abroad, shunned at home: Director Kim Ki-duk keeps trying for local acceptance

By John Scott Marchant

Journalist and freelance writer

For foreign cinemaphiles, award-winning independent filmmaker Kim Ki-duk's celluloid offerings are generally perceived to be a breath of fresh air, allowing a brief respite from the dominant formulaic CGI-laced products from Hollywood.

So, why does this master auteur, who has fans all over the world and more international film festival awards than you can shake an Academy Award at, still struggle so mightily to win the love of Korea's audiences?

According to Korea's film pundits and vociferous online community, there is no mystery as to why the director's work fails to appeal in this country: Kim simply does not make films which local audiences want to see.

The reason for this could lie in Kim's "school of hard knocks" upbringing, which not only gave him a very different view of the world compared to his peers, but excluded him from the creative conditioning process of Korea's directorial assembly line.

Unable to study at the proper arts schools and universities, and without family and film industry connections, Kim never stood a chance of joining the country's filmista elite. Yet, he still managed to enjoy foreign box office success and critical recognition at the top-rated Venice and Berlin film festivals – a fact which undoubtedly gets under the skin of many Korean film industry luminaries.

Born in 1960 in Gyeongsangbuk-do (North Gyeongsang Province), Kim's family spent the first nine years of his life in Korea's breadbasket before leaving for Seoul. An agricultural school student, he dropped out at age 17 to work in a factory, later serving in the marines from age 20 to 25.

Two years employment at a church for the visually impaired influenced him so deeply that at one point, he even contemplated becoming a preacher. In 1990, Kim set off for Paris, spending three years eking out a living drawing sketches of passerbys on the streets.

Kim readily agrees that he did not follow the normal course of Korean life: "While others learned about theories in school, I learned about people in a factory. It's what has made me what I am today." But for the enfant terrible of Korea's film industry, it was while in Paris that he reached a turning point in life.

"Korea could give me nothing at the time because I didn't have much education," he said. "I was so busy and tired from factory work that I couldn't even see movies. In Paris, I could make a living just by sketching people in the streets. I also had time to see movies for the very first time."

Moved by such films as Silence of the Lambs and Leos Carax's, Les Amants du Pont-Neuf, Kim's time in "The City of Light" was well spent creatively, laying the foundation for his art-house style and cinematic success.

Renown for producing dark tales featuring extreme violence and sex, Kim readily admits to shining the spotlight on issues which middle and upper-class Korean society would prefer remain hidden. Accusations of misogyny, cruelty to animals and marketing negative images of Korea abroad for personal gain has led to a local backlash against his films, with a rift developing between the director, Korea's filmgoing public and industry movers and shakers. This mutual antagonism has reached the point where Kim insists on using the term "export" to describe his film releases in the home market.

"My films are sold to more than 20 countries worldwide, and even though I have only 20,000 to 30,000 fans in Korea, if the total number of fans overseas is included, I have about 10 million," he said. "Given that Korea accounts for just 2 to 3 percent of the total, I think it's correct to use 'export' for the local release."

Sponge House, the Korean distributor of Kim's films which released "Time" and will open "Breath" after film festival screenings in the spring and summer of this year, said it signed a distribution contract with the director containing terms no different to those for imported films.

But Kim's box office troubles at home are not a recent occurrence. One of his earlier films, "Address Unknown" -- about the lives of people living near a U.S. Army base in Korea -- was well-received abroad and screened at the Venice Film Festival in 2001. Locally, the film sold only 10,000 tickets before being yanked from theaters after a week. "The Bow," was shown at Cannes but opened in just one cinema here and did not even have a press screening. The film attracted a nationwide audience of 1,400.

Kim's frustration with the local film industry has long been simmering but reached boiling point just before the release of his 13th movie "Time" in August last year. The director publicly vowed never to release another film in Korea again unless 200,000 people turned up at the box-office. The threat brought howls of protests from critics and the media, and when ticket stubs were counted after the film's eight-theater release, only 30,000 fans had shown their support.

This snubbing supposedly "guaranteed" that filmlovers in Korea would never see another Kim Ki-duk movie at a cinema here again. But Kim, buoyed by the fact that 30,000 fans had actually shown up, backflipped on his decision and announced that "Breath" -- starring Taiwanese actor Chang Chen (“Crouching Tiger, Hidden Dragon” and "Eros") -- would receive a Korean release as a way of thanking his diehard fans.

Kim said that his latest film was named "Breath" because it follows a storyline akin to the process of inhaling and exhaling while mirroring the ying and yang principle. The plot revolves around the life of a married woman, who discovers her husband is having an affair and in the midst of depression falls in love with a man on death she meets during her work.

As a low-budget production that cost around $266,000 to make, the film was shot in keeping with the director's normal 10-day schedule. According to Cineclick Asia, "Breath" was the center of attention at the recent European Film Market of the Berlin International Film Festival, and has already been sold in 10 countries, including, Brazil, Spain and Russia.

With expectations riding high for Kim's latest offering, critics and moviegoers alike are waiting to see whether "Breath" will go someway towards bridging the divide which exists between the director and his home market. If "Breath" turns out to be a hit, then Kim may well be on his way to reviving a more mainstream relationship with the Korean film industry

Source: KOREA.net

http://www.korea.net/news/news/newsView.as...Day=&page=1

Apr 18, 2007

Japan to Show Encore Films by Director Kim Ki-duk

To mark the Japanese release of director Kim Ki-duk's 1996 debut film "Crocodile," a special showing under the title of "Continuing Mandala of Ki-duk" will be held in Euro Space in Tokyo on April 28th. It appears that the name Kim Ki-duk has become a brand in and of itself.

The film "Crocodile" will be shown twice a day until May 18th, together with six other works by Kim--"The Birdcage Inn," "The Coast Guard," "Address Unknown," "Island," "Bad Guy," and "Empty Homes."

Separate from this event, Kim's 2006 film "Time" has been playing at a Japanese theater since March 10th under the title of "Love of Absolute."

Another special presentation of director Kim's films titled "Super Ki-duk Mandala" took place between February 24th and March 16th at the same locale. Starting on the 7th of next month, the two most lauded films from "Super Ki-duk Mandala"--"Wild Animals" and "Real Fiction"--will be shown again.

Source: KBS Global

http://english.kbs.co.kr/mcontents/enterta...0612_11692.html

Apr 20, 2007

Two Korean Films to Be Shown in Competition at Cannes

Two Korean movies will be screened in competition of this year's Cannes Film Festival. "Secret Sunshine" by Lee Chang-dong and "Breath" by Kim Ki-duk were invited to the 60th anniversary extravaganza.

Since the first Korean movie, "Chunyang," was introduced in competition in 2000, there have been a string of Korean movies at Cannes, with "Strokes of Fire" in 2002, and "Old Boy" and "Woman Is the Future Of Man" in 2004. The Korean film industry welcomed the news since no Korean movies entered the competition last year. Industry sources expect the two movies to give a much-needed boost to the Korean movie industry, which some say is in crisis.

Meanwhile, Korean actress Jeon Do-yeon will take her first steps on the red carpet in Cannes, while Son Kang-ho notches up his second invitation to the French city in as many years. Last year, "The Host," in which Song starred, was screened as part of the Director's Fortnight at the festival.

Posters for "Secret Sunshine" (right) by Lee Chang-dong and "Breath" by Kim Ki-duk

"Secret Sunshine" gained a publicity boost from the news. It is to be screened on May 24. Director Lee Chang-dong and stars Jeon Do-yeon and Song will go to France on May 15th. "Breath" is screened on May 26, and director Kim Ki-duk and star Chang Chen will arrive in Cannes on May 16, before the festival kicks off.

Source: englishnews@chosun.com

http://english.chosun.com/w21data/html/new...0704200013.html

April 20, 2007

Two Korean films to compete in Cannes Film Festival

Two homegrown films about love have been invited to compete in this year's Cannes International Film Festival, the films' distributors said Thursday (April 20).

The two are "Secret Sunshine," the fourth feature film directed by Lee Chang-dong, and "Breath" the fourteenth film of director Kim Ki-duk.

The two films will compete with 19 other films for the coveted Palme d'Or, the highest honor of the festival.

The last Korean film invited to the festival's competition section was director Hong Sang-soo's "Tale of Cinema" in 2005.

"Secret Sunshine" is a love story depicting a young widow and a car mechanic in the small town of Milyang in Korea's Gyeongsangnam-do (South Gyeongsang Province).

Director Lee, a former minister of culture and tourism, produced the film after a five-year hiatus as a director. Lee won the award for best director at the 59th Venice Film Festival in 2002 for his film "Oasis."

"Breath" shows the love between a death row inmate and a despairing woman who has witnessed her husband's infidelities.

Kim has also won awards in Berlin and Venice film festivals, but he has never won an award in the Cannes Film Festival.

This year's festival is scheduled for May 16-27.

Source: KOREA.net

http://www.korea.net/news/news/newsView.as...Day=&page=1

omg i watched that spring, summer, winter, and spring

it was SO weird. i expected it to be good but after I watched it..I was like...what the heck?

there wasn't much of a plot, and im not so into thinking about symbolism in movies

i mean yes satires and symbolism to an extent is ok, but i was kind of freaked out after watching it