Director Kim Jee Woon 김지운 Kim Ji Woon

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March 11, 2012

Kim Ji-woon: International or Korean?...Take Your Pick

Posted by Paul Bramhall at KOFFIA Blog

If anybody asks me who my favourite director is working in cinema today, I’m always able to answer without hesitation that it’s Kim Ji-woon. I first experienced his work with 2003s ‘A Tale of Two Sisters / 장화, 홍련’, and have been a fan ever since. He’s the rare director that seems to be able to turn his hand to whichever genre he chooses, and create an excellent piece of cinema.

Kim Ji-woon...contemplating what to put in each version of his next movie.

However despite my admiration, there is one frustrating element to Ji-woon’s work that started with 2005’s ‘A Bittersweet Life / 달콤한 인생’, and has been a recurring event with both of his movies released since then. It’s what I’ve come to call the curse of the International version & the Korean version. That is to say, all three of his most recent movies have come released in two versions, and each one has enough differences to warrant a separate viewing of each. While seeing a different version of the same movie might hold novelty value for some, I for one personally wish that he would simply create his definitive vision of the movie, and release that for the world to see, not just a certain version for his local audience and a different one for the rest of the world. For me the most frustrating factor is when I try to switch my friends onto his work by showing them one of his movies, I often find myself scratching my head for far longer than any reasonable person should contemplating which version I should show.

To get mathematical for a second, let me provide the exact breakdown. For ‘A Bittersweet Life’, which to be fair had the two versions entitled the Theatrical cut & the Director’s cut, comparing them against each other the Director’s cut has 16 scenes removed, and 2 scenes rearranged & slightly lengthened which results in the Director's cut being 30 seconds longer. For ‘The Good The Bad The Weird / 좋은 놈, 나쁜 놈, 이상한 놈’, comparing the International version to the Korean version there are 30 alterations, including 7 scenes of alternative footage, 13 scenes in which the International version runs longer, & 1 recut. The difference in running time has the Korean version running 5:24 minutes longer. Finally for ‘I Saw the Devil / 악마를 보았다’, comparing again there are 14 extended scenes in the International version totaling 3:20 minutes, 15 extended scenes in the Korean version totaling 5:37 minutes, and 3 alternative sequences.

Confused? It’s understandable. To give people some idea of what you’re in for and the reasons behind such decisions, not to mention the fact that unless you buy the Korean DVD release you might not even be aware of the different versions, I’ll take a look at each movie individually.

For ‘A Bittersweet Life’, out of the three the differences made between the Theatrical cut & the Director’s cut make the most sense. The Director’s cut for the most part takes the movie and makes it flow more, while adding more narrative structure which results in things making more sense. The best example of this is probably when Lee Byung-hun’s character Sun-woo drives back to the girl’s apartment to confront her. In the Theatrical version we don’t get to see why, however in the Director’s cut it shows Sun-woo in his car watching her talk to a man outside her apartment, who is her boyfriend. Once her boyfriend leaves Sun-woo also drives away, not knowing that she is watching him, and once he’s gone she calls her boyfriend to advise that the coast is clear, but by chance Sun-woo almost gets into a car accident with him. Realizing he’s been deliberately deceived, this scene shows why he is so brutal when returning to the apartment.

A worthy scene from the Director's cut

Other changes for the most part actually involve small cuts here and there, the stabbing in the ice-rink is trimmed a little along with how many times Sun-woo gets shot in the final scene, although totally these changes don’t even equate to a second. Interestingly one of my favourite scenes in the movie only exists in the Director’s cut, when Sun-woo has been badly beaten and is on his knees in front of his boss Kang in the rain, Kang asks him why he decided to keep that fact that his girlfriend was seeing somebody a secret and not just call him, saying it’s very out of character for him. Sun-woo stays silent and doesn’t answer, and for me I thought this was a really powerful scene in portraying the feelings Sun-woo was harbouring for the girl.

It was with ‘The Good, The Bad, The Weird’ that the changes being made essentially contribute towards changing the tone, and even in this case the ending, of the movie. While to detail every change would be tiresome, I will outline the couple of significant differences between the two. Firstly, in the International version the scenes containing the character of Korean Freedom Fighter Song-yi, played by Eom Ji-won, are completely cut out. In the Korean version it’s shown that she is the person who hires The Good, played by Jeong Woo-seong, to find the map, as it’s very important it doesn’t get into the hands of the Japanese army. Her character also has several short scenes throughout the movie, all of which are gone in the International version.

Eom Ji-won, the girl who wasn't there

Secondly, and probably most significant, the ending is extended by several minutes in the Korean version. According to CJ Entertainment, it’s actually the ending of the International version that matched Ji-woon’s original version, which in my opinion is also

Secondly, and probably most significant, the ending is extended by several minutes in the Korean version. According to CJ Entertainment, it’s actually the ending of the International version that matched Ji-woon’s original version, which in my opinion is also the better or the two. For the Korean version, the ending goes on continuing directly where the International version finishes to show the fates of the Good & the Weird. Song Kang-ho’s character sits up and wonders why he’s so heavy, and upon lifting his shirt reveals a metal plate in a homage to ‘A Fistful of Dollars’, however the Japanese army soon catch up with him and after accidentally lighting a stack of dynamite, everyone runs for cover. Additionally it then cuts to a scene of Jeong Woo-seong entering a room of men playing cards around a table, and asking them where he can find the Weird, after a moment’s silence he shoots everyone except the boss and asks again. It’s at this point the movie cuts to the shot of him on the motorbike which finishes both versions.

Perhaps the biggest difference between the two versions is the Korean version more heavily leaning on the resistance fighters element of the story, so adding more of a historical background to the proceedings, which is completely absent from the International version. It also gives a several minutes more screen time to heart throb Jeong Woo-seong, which no doubt his legions of female fans appreciated on local soil.

Lastly with ‘I Saw the Devil’, it’s fair to say the majority of changes here were to do with satisfying the Korean Media Rating Board, but once again there are also some significant dialogue scenes missing from both versions, which makes it the most frustrating movie in trying to decide which is best. In total Ji-woon went through three edits of the movie to get his movie through for Korean release, so some of the violence is trimmed down, and pretty much every direct reference to cannibalism is gone from the Korean version. With that in mind, it’s interesting to point out that the Korean version actually runs 2 minutes longer than the International version, as with the International version he took the opportunity to cut out various dialogue or connecting scenes that he didn’t feel necessary, which makes the added violence even more powerful.

This will of course make each version an either more rewarding or less rewarding experience depending on which one you see first. For me personally I saw the Korean version upon its release in Korea, and was left more than satisfied with the experience. However upon my second viewing I watched the International version, and although the added violence (& there is a fair few scenes) will leave gore hounds drooling, I found myself frustrated at the fact that nothing is explained as to how Byung-hun’s character finds who the suspects are so easily, as the scenes are all cut out which show that the police already have some perpetrators in mind. Also, although in the International version it’s made more than clear that Choi Moo-seong’s character is a cannibal both verbally and visually, I’m not sure what the reason is behind cutting out the sex scene that occurs between Choi Min-sik & Kim In-seo in the kitchen.

In the end, it’s hard to recommend either version as the superior viewing experience, and ultimately it’s best to watch both and reach your own conclusion. My hope is that when it comes to Ji-woon’s English language debut next year with ‘Last Stand’, it will also herald the last time we have to choose which version of the movie we want to watch.

Paul Bramhall@Paul Bramhall

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March 8, 2012

Kim Ji-woon comes back to promote new movie

Source: Daum via hancinema.net

Director Kim Ji-woon who is currently directing the Hollywood movie "The Last Stand", is coming back for a while on the 11th. He is to return to Korea for 3 days to attend the press preview of "Doomsday Book" on the 12th.

"Doomsday Book" which is being released on the 5th of April, is an omnibus SF movie with the cast including Ryoo Seung-beom, Kim Kang-woo, Song Se-byeok, Kim Gyoo-ri, Jin Ji-hee, Ko Joon-hee and others and directed by Lim Pil-seong and Kim Ji-woon.

Kim Ji-hoon will attend the press preview of the movie and return to the States on the 13th. He has completed shooting the last of his first Hollywood movie "The Last Stand" and is into editing. He won't be able to attend other activities besides the press preview.

"Doomsday Book" is about the 3 different signs of the destruction of mankind and will be released on the 5th of April.

March 12, 2012

Dir. KJW at 'Doomsday Book' Press Preview

Photos from Nate

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Source: Nate

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April 2, 2012

Celebrities Attend VIP Premiere for Upcoming Sci-Fi Film "Doomsday Book"

by: jnkm soompi.com

The VIP premiere for the new film, "Doomsday Book" was held on April 2 at the Lotte Cinemas in Gwangjin-gu, Seoul.

"Doomsday Book" is a science-fiction anthology film that tells three different stories of human self-destruction in the modern high-tech era. It is the first Korean film with an "end of the world" theme.

"Doomsday Book" is the collaborative work between directors Kim Ji Woon and Lim Pil Sung. Kim Ji Woon directed numerous hits such as "A Tale of Two Sisters," "A Bittersweet Life," "The Good, The Bad, The Weird" and "I Saw The Devil."

"Doomsday Book" stars Ryu Seum Bum, Kim Kang Woo, Song Sae Byuk, Parj Hae Il, Kim Gyu Ri, Go Joon Hee, and Jin Ji Hee. Top stars showed up at the VIP premiere to show support for the cast including Girls Generation's Sooyoung, Lee Min Ho, Yeo Jin Goo, Nam Bora, Kim Yoo Jung, Kim So Hyun and more. It is especially great to see most of the child cast members from "The Moon that Embraces The Sun" attend to support their past co-star, Jin Ji Hee.

"Doomsday Book" will hit theaters on April 5.

Sooyoung is a lovely spring lady in flower-print, high-waisted capri pants and a hot pink blouse.

"Moon/Sun's" sweetheart, Kim Yoo Jung flashes a huge grin and a peace sign in a cute, girly outfit.

Nam Bora also sports soft pastel colors for the spring season.

Lee Min Ho is looking quite like a model with his denim on denim fashion.

Yeo Jin Goo looks excited to see his "younger sister" Jin Ji Hee in a movie!

Kim So Hyun looks cute in non-hanbok clothes as well!

Jin Ji Hee's daytime outfit!

Jin Ji Hee (in her evening outfit) and her co-star Song Sae Byuk!

Go Joon Hee's lacy, white mini-dress.

Go Joon Hee and Ryu Seung Bum look good together in white and black.

Kim Kang Woo poses stoically in front of the camera.

The cast!

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April 6, 2012

Haiku Revu: I Saw The Devil

Source: shapejam.com

My haiku review of I Saw The Devil.

Irresistable,

Forces immovable nut,

Swift carnage ensues

A serial killer played with the expert rage of Choi Min-sik encounters a lone, snow bound woman on a dark night. After an explosion of violence her fiance, an officer for South Korean Military Intelligence, played by Lee Byung-hun has to pick up the pieces.

The Korean director Kim Ji-woon creates an incredibly brutal and beautifully shot film, showing an intersection between the inhabitants of two worlds of violence, one state sanctioned and the other the result of deep mental psychosis. Over the course of the picture, Lee’s character slowly steps across the line into pure criminality as he coldly and painfully ekes out retribution for his lost love. Throughout, Choi appears incapable of redemption as his rampaging madness forms the perfect counterpoint to Lee’s cold fury. Any victory for Lee appears pyrrhic at best, but his determination drives the film on.

I was in two minds to watch this, as the trailers smacked of a film which might have crossed the line into torture porn, but after checking out some decent reviews I decided to give it a go. Whilst the film is undoubtably violent, the story, acting, photography and lighting is execellent, setting up dreamlike scenes before pulling you into the action with a visceral bump that forces you to quickly come to terms with what is happening on the screen. Taken as a whole, this is an expertly made film, with detailed performances from the male leads, good pacing from the director and impressive, memorable scenes.

Be prepared for an unflinching South Korean revenge movie, definitely not one for kids, two thumbs up, strongly recommended.

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Poll: Multiple choice answers

International movie featuring Korean actor/actress/director that you're looking forward to?

http://www.soompi.com/forums/topic/376974-which-international-movie-featuring-korean-actoractressdirector-that-youre-looking-forward-to/

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The tally so far..

April 10, 2012

Poll: Multiple choice answers

International movie featuring Korean actor/actress/director that you're looking forward to?

1. G.I. Joe: Retaliation (Lee Byung Hun) (24 votes [31.58%])

2. The Grandmaster (Song Hye Kyo) (15 votes [19.74%])

3. Last Stand (Dir. Kim Ji Woon, Daniel Henney) (8 votes [10.53%])

4. The Way: Man of the White Porcelain (Bae Soo Bin) (7 votes [9.21%])

5. 12 Chinese Zodiac Heads (Kwon Sang Woo) (5 votes [6.58%])

6. Dangerous Liaisons (Jang Dong Gun) (5 votes [6.58%])

7. Repeat, I Love You (Kwon Sang Woo) (4 votes [5.26%])

8. Snow Piercer (Dir. Bong Joon Ho, Song Kang Ho, Ko Ah Sung)) (4 votes [5.26%])

9. Cloud Atlas (Bae Doo Na) (3 votes [3.95%])

10. Stoker (Dir. Park Chan Wook) (1 votes [1.32%])

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April 12, 2012

Asia offers rich menu to Cannes' selectors

By Stephen Cremin filmbiz.asia

Festival Opinion

The 65th Cannes Film Festival (16-27 May) is due to announce its official lineup a week from today, on Thu 19 April. The independent Directors' Fortnight sidebar reveals its own selection a few days later.

With Marco MÜLLER no longer at the Venice International Film Festival, and the power of the International Rome Film Festival under his tenure still unproven, there's never been a better time for Directors' Fortnight to step in as Cannes' arbiter of Asian cinema. Müller's maverick approach was somewhat out of place at an A-list event, better reserved for a festival — or sidebar — biting at the heels of the establishment.

For a decade Cannes has had a particularly weak programme of Chinese cinema, precisely Müller's greatest strength. Cannes has shifted to focus almost exclusively on independent Chinese cinema, which holds the moral high ground if not always the artistic one. Would the Cannes of 2012 have the courage to present a film like JIANG Wen 姜文's Devils on the Doorstep 鬼子來了 (2000) in competition? Probably not. Just as it had no room for Jiang's Let the Bullets Fly 讓子彈飛 (2010) or LU Chuan 陸川's City of Life and Death 南京！南京！ (2008).

In contrast to the (relatively weak) Chinese blockbusters that opened in September and December last year — that fed the Venice and Berlin selections — Directors' Fortnight is blessed with a feast of upcoming films from Chinese auteurs. Showing a handful would elevate Directors' Fortnight as the new gateway for Chinese language cinema in Europe. A decade ago, these films would have debuted in Udine; now their producers want and expect a bigger platform, ideally with a market attached.

Upcoming films include NING Hao 寧浩's Guns and Roses 黃金大劫案 (opening 24 Apr in China), Leon YANG 楊樹鵬's An Inaccurate Memoir 匹夫 (24 Apr), GUAN Hu 管虎's Design of Death 殺生 (28 Apr), ZHANG Yang 張楊's Full Circle 飛越老人院 (8 May), Wuershan 烏爾善's Painted Skin: The Resurrection 畫皮Ⅱ (28 Jun), Lu Chuan's The Last Supper 王的盛宴 (5 Jul) and LI Yu 李玉's Double Exposure 二次曝光.

Under the two previous heads of Directors' Fortnight — Olivier PÈRE and Frédéric BOYER — such a bold move would be unimaginable. Although both men took Asia seriously after assuming their positions, and upped their own travel to the region, neither are completely comfortable navigating its cinemas. But the new Fortnight director Edouard WAINTROP (pictured) has championed a diverse range of Asian cinema at his previous post at the Fribourg International Film Festival in Switzerland.

While Waintrop's programming at Fribourg suggested that he was most comfortable with the cinemas of Japan and South Korea — notably with the impressive "The Curse of the Korean Kings" retrospective in 2010 — he has also embraced a range of Chinese films. At his final 2011 edition, he dared to open with DING Sheng 丁晟's Little Big Soldier 大兵小將 (2009) starring Jackie CHAN 成龍 and put FENG Xiaogang 馮小剛's earthquake melodrama Aftershock 唐山大地震 (2010) in competition.

And within the comfort zones of South Korea and Japan, there are equally rich pickings ready for Cannes, whether for inclusion within the Fortnight, International Critics' Week or the festival's Official Selection.

Films from Korean directors likely available include PARK Chan-wook 박찬욱's English-language Stoker, HUR Jin-ho 허진호's Chinese-language Dangerous Liaisons 危險關係, HONG Sang-soo 홍상수 | 洪常秀's multilingual In Another Country 다른 나라에서 starring France's Isabelle HUPPERT, IM Sang-su 임상수 | 林常樹's (sort-of-sequel to The Housemaid 하녀 (2010)) The Taste of Money 돈의 맛, and KIM Jee-woon 김지운 | 金知雲's co-directed end-of-days science fiction omnibus Doomsday Book 인류멸망보고서.

In the field of animation, there's YEON Sang-ho 연상호's violent social drama The King of Pigs 돼지의 왕 from South Korea and HOSODA Mamoru 細田守's fantastical Wolf Children おおかみこどもの雨と雪 from Japan. The former was well-received at the Busan International Film Festival 부산국제영화제 last October but has been suspiciously absent from other international events. Wolf Children, due out in Japan in mid-July, is from the director of the critically acclaimed Summer Wars サマーウォーズ (2009) that competed at the Locarno Film Festival.

Other established Japanese directors with new films available include ISHII Gakuryu 石井岳龍 (formerly known as ISHII Sogo 石井聰亙) with Isn't Anyone Alive 生きてるものはいないのか (released 18 Feb), NAKAMURA Yoshihiro 中村義洋 with Potechi ポテチ (12 May), WAKAMATSU Koji 若松孝二 with Mishima 11・25自決の日　三島由紀夫と若者たち (originally 2 Jun; now delayed), NINAGAWA Mika 蜷川実花 with Helter Skelter ヘルタースケルター (14 Jul) and YOSHIDA Daihachi 吉田大八 with The Kirishima Thing 桐島、部活やめるってよ (11 Aug 2012).

Titles available from the rest of Asia include Nonzee NIMIBUTR นนทรีย์ นิมิบุตร's psychological thriller Distortion คน-โลก-จิต (17 May) from Thailand, Anurag KASHYAP's crime epic Gangs of Wasseypur (19 Jun) from India, Gilles YANG 楊雅喆's gay drama GF & BF 女朋友。男朋友 (17 Aug) from Taiwan, Australian director Cate SHORTLAND's German-language Lore and Iranian director Abbas KIAROSTAMI's Japan-shot Like Someone in Love ライク・サムワン・イン・ラブ.

French sales agency Wild Bunch recently said that WONG Kar-wai 王家衛's The Grandmasters 一代宗師, starring Tony LEUNG Chiu-wai 梁朝偉 and ZHANG Ziyi 章子怡, will still be shooting in May. A Chinese release date of the martial arts film is expected to be announced by Jet Tone Films Ltd 澤東製作有限公司 on 18 April, but the timing is surely a coincidence. Two other anticipated projects, HOU Hsiao-hsien 侯孝賢's The Assassin 聶隱娘 and JIA Zhangke 賈樟柯's In the Qing Dynasty 在清朝, have officially yet to shoot.

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April 24, 2012

Look East: Korean Film Fest launches in Hollywood

Asian stars to cast prints at Grauman's Chinese

By PAT SAPERSTEIN variety.com

The first ever Look East: Korean Film Festival will launch June 23 and 24 in Hollywood with a weekend of notable Korean film talent.

Headed by producer Martha Chang, fest will take advantage of the fact that Los Angeles has the largest population of people of Korean descent outside Korea.

"Korea and its influences, whether it be in movies, food or music, seems to be everywhere," said Chang.

Directors whose work will screen at the event include Kwon Taek Im, Jee-woon Kim and Chang-dong Lee.

Longtime champion of Korean cinema Pierre Rissient will be recognized for his contributions to Asian films.

As part of the celebration, stars from Korea including actors Byung-hun Lee ("G.I. Joe: The Rise of Cobra) and Sung-ki Ahn will cast their hand and footprints at Grauman's Chinese Theater, where screenings will also be held.

"American filmmakers and audiences have always been intrigued with the Far East and especially with action stars from that part of the world," said "G.I. Joe" movie producer Lorenzo di Bonaventura.

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April 30, 2012

Korean Film Festival Coming to Hollywood

The inaugural event will take place in June.

Source: hollywood.patch.com l Look East Festival FB

[The following news release was provided by a representative for the Korean Film Festival. It has been edited for brevity and clarity.]

The first "Look East: Korean Film Festival," a celebratory weekend of Korean filmmaking will come to Hollywood Saturday and Sunday, June 23-24. Hyundai Motors serves as a Lead Festival sponsor of the festival.

Marking the first time in its 85-year history, Korean performers will cast their hand and footprints in front of Grauman’s Chinese Theatre in Hollywood on Saturday, June 23. This includes Korean actor Byung-hun Lee, an award-winning international star who recently appeared as Storm Shadow in Paramount Pictures’ G.I. Joe: The Rise of Cobra and will be seen this summer in the sequel, G.I. Joe 2: The Retaliation, alongside Bruce Willis and Dwayne Johnson. Lee’s rise to fame was his role in A Bittersweet Life.

“American filmmakers and audiences have always been intrigued with the Far East and especially with action stars from that part of the world,” says G.I. Joe movie producer Lorenzo di Bonaventura. “Working with Korean actor Byung-hun Lee on G.I. Joe 2: The Retaliation was a wonderful experience. His energy and charisma truly come to life on film.”

Also casting hand and footprints at Grauman’s will be Sung-ki Ahn, a veteran Korean star who has appeared in nearly 100 movies and is considered to be one of the most respected, influential actors in Asia.

Having great commercial success with Unbowed last year, Ahn’s star continues to rise. Additionally, Pierre Rissient, an international film expert, French filmmaker and luminary who has long championed Korean cinema and has been instrumental in raising its profile worldwide will be in attendance and recognized for his contributions to Asian films.

With over half a century of experience, Rissient is revered by filmmakers around the world including such American directors as Clint Eastwood, Oliver Stone and Quentin Tarantino, among others.Hollywood will recognize the rising Korean film industry with a series of new and classic films over the weekend. Top Korean directors whose films will be screened include Kwon Taek Im, Jee-woon Kim and Chang-dong Lee. Korean food and its savory flavors and ingredients will also be included with tastings at the reception.

A detailed schedule of festival events will be released in the coming weeks.

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July 16, 2009

The East is Red #2 – Why You Won’t Be Seeing This Summer’s Best Movie

Posted by lisam The East Is Red

So you’ve already seen most of the 2009 summer blockbusters, and you’ve so far been somewhat underwhelmed. STAR TREK was fun, but somehow you never quite got the “wow” factor you suspect the filmmakers were going for. TRANSFORMERS: REVENGE OF THE FALLEN mainly left you with a sense of your own impending middle-aged grumpiness. UP was enjoyable, but you’re wondering why a live-action film can’t work that well.

They can, and one has – but you, American moviegoers, won’t get to see it (at least not on a big screen) any time soon.

Before I tell you what that movie is and why you’re being rooked, let’s start this on-topic and with a statement that’s sure to raise hackles on a few of you: South Korea’s Kim Ji-woon is the world’s greatest living horror filmmaker.

If you’ve seen his 2003 masterpiece A TALE OF TWO SISTERS, chances are you’re thinking, Well, okay…I might go along with that. If you haven’t seen it – well, stop wasting time with this column, and go rent – no, strike that, BUY – a copy now. Watch it twice (yes, trust me on this), then come back. I’ll wait. Feel free to take the time to watch the DVD supplements, too (Kim apparently oversees much of this material himself, and SISTERS’ bonus materials are incredible).

(And by the way, telling me that you don’t need to see the original because you’ve seen the lameass American remake THE UNINVITED not only doesn’t count, it will get you kicked off the island.)

You’re back? Good. Then let’s talk first about TWO SISTERS. Enough has already been written about the film that a detailed discussion here would just be superfluous. However, I’d like to address a few of the reasons why I think the film works so spectacularly well, especially in relation to Kim Ji-woon’s body of work.

Based on a traditional Korean fairy tale (which I’ve been unable to locate an English translation of), TWO SISTERS employs some of the same reverse narrative structure found in American films like MEMENTO, but whereas MEMENTO unravels on subsequent viewings, TWO SISTERS is so perfectly plotted that it actually gets even better on subsequent viewings. This is partly due to the fact that Kim invests his characters with tremendous emotional hooks; the final revelation in TWO SISTERS is devastating not because it’s a clever gimmick, but because the depth of its tragedy is genuinely shocking. Kim understands that all storytelling, but horror in particular, needs to resonate with us on some gut level beyond the mere grossout; many of the best horror stories live side-by-side with great tragedy, and TWO SISTERS is a prime example of this.

But Kim’s talents don’t stop at being merely a great storyteller. He’s that rarest of auteurs, the triple threat who’s also a master visual stylist and a brilliant director of actors. The production design and cinematography of SISTERS is elegant and fluid, with the sets offering a mix of eastern and western motifs that’s somehow uncomfortable by itself. Kim (thankfully) eschews two of the most overused camera techniques of Hollywood horror – the subjective p.o.v. (usually from the killer) and the ShakyCam – preferring instead to have his camera glide along the hallways of his Gothic Korean mansion like one of the ghostly presences infesting it. He often uses traditional angles – the extreme low angle up on the antagonist, the tight close-up on the terrified girl – in a way that somehow makes them seem fresh and new again.

There’s an argument to be made in the notion that great directors must ally themselves with great actors (think Mifune and Kurosawa, Lynch and MacLachlan, Welles and…well, Welles), and Kim certainly fits that. He’s used South Korea’s comic genius Song Kang-ho from the beginning of his career (more about Song later), and his last two films starred the handsome and gifted Lee Byung-hun. But he’s yet to work again with Yeum Jung-ah, the actress who plays the stepmother in TWO SISTERS, and that’s a pity, because Yeum gives one of horror cinema’s great performances. From the moment we first see her, walking towards us with her tight smile and perfect grooming, we know there’s something VERY WRONG with this woman; when she realizes younger sister Soo-yeon is terrified of her, she barks out a surprised and delighted laugh that sets her up in no uncertain terms as the villainess. As the film delineates her slow transformation from merely brittle to downright psychopathic, her performance becomes more and more ferocious. It’s one of the great female monsters in all of horror cinema, and a performance unlikely to be rivaled any time soon (and TWO SISTERS isn’t the only great horror movie Yeum’s starred in, but I’m saving a discussion of her other work for a future column).

A TALE OF TWO SISTERS was Kim’s third feature as director. He started his career in 1998 with a funny and disturbing horror comedy called THE QUIET FAMILY, starring Song Kang-ho and OLD BOY’s Choi Min-sik as two members of the eponymous family who buy an isolated mountain inn with the idea of renovating it, then run into problems when their guests keep dropping dead. QUIET FAMILY provided the basis for Takashi Miike’s demented HAPPINESS OF THE KATAKURIS, but is both better made and genuinely funnier. It also features some of the most outrageous use of pop tunes ever, ending with the Partridge Family’s “I Think I Love You” played over its climax. At a time when the Korean film industry was exploding in popularity, it established Kim as one of the young directors to watch.

Before he made TWO SISTERS, Kim made a mega-hit wrestling comedy called THE FOUL KING (once again starring Song Kang-ho), but more interesting were two shorts, both horror. One was a vampire dramedy called “Coming Out”, and the other was a creepy, surreal segment of the anthology film THREE (which also featured shorts from Thailand’s Nonzee Nimibutr and Hong Kong’s Peter Chan). Kim’s “Memories” is essentially plotless (a woman with no memory wanders the streets of a somewhat desolate city), but is rich in atmosphere and tension.

Kim followed A TALE OF TWO SISTERS with 2005′s international thriller hit A BITTERSWEET LIFE, starring Lee Byung-hun as a young gangster who is assigned to watch the bossman’s girlfriend; when he finds that she’s seeing another man, he lets them go, then faces off against his own fellow gang members. The plot is slight but the action is dense and showy, and Lee is resolved and sympathetic in the lead. A finale shoot-out in a club really is a GRAND finale, with breathtaking action and more than a little blood spattered.

By the time Kim got around to making his next film, the Korean film industry was in a slump. The boom of the late ’90s and early 2000s – when homegrown films had actually out-earned Hollywood product in the local movieplexes – was fading, and the industry was running out of cash. It took Kim Ji-woon to come up with an audacious move to reinvigorate the biz: He would make the most expensive film in South Korea’s history (wow, 17 million in US dollars!), amp up the action, throw in three of their biggest stars, and base it on -astonishingly – spaghetti westerns.

Kim’s gamble hit pay dirt. THE GOOD, THE BAD, THE WEIRD became the biggest hit in Korea in 2008. Once again, Kim’s considerable visual talents come into play with an epic action story of three very different men all scrambling for a map that may reveal the location of a hidden treasure. Set during World War II, there are also Japanese forces in search of the map, outland barbarian hordes, and sophisticated gangsters. The three leads are Song Kang-ho (obviously “The Weird”), as a funky, gum-chewing train robber; Lee Byung-hun as “The Bad”, a scarred, well-dressed and ruthless mobster; and Jung Woo-sung as the cool and suave rifleman who is “The Good”. The movie starts with a train robbery that is as virtuosic a set-piece as you’re every likely to find in an action flick, and ends with an epic chase across a desert that’s (if possible) even more jaw-dropping. It’s all accompanied by a delightfully daffy score (think Morricone by way of disco), colorful production design, and a trainload of daffy supporting characters that all add up to one of the most entertaining films in years. Oh, and horror fans – there’s plenty of sheer weirdness here, too, including a sequence in an opium den and a running joke involving impalement of a particularly tender part of the human anatomy.

Even before THE GOOD, THE BAD, THE WEIRD opened in its native country, it was acquired for U.S. distribution by IFC Films. The plan was to release it “in the first half of 2009″. Well, in case your calendar’s missing a few pages, we’re now officially past the year’s first six months, and not only was the film not released, it seems to have vanished from all U.S. radar at this point. Internet rumors suggest that MGM, who owns the Sergio Leone catalog, found the film’s title somewhat objectionable and indicated that they would move to block its release here; however, given that the film comes with its own built-in second title (the end credits call it “An Oriental Western”), it seems odd that IFC wouldn’t simply retitle it.

Whatever the reason, you’ve been denied the pleasure of the one action film that would have left you in an actual blissful state of “Wow” wonder. All is not lost, however – you can purchase a legit DVD copy of the film from places like yesaia.com. I haven’t yet seen it on the small screen (I was lucky enough to catch it at an AFI Festival screening in L.A. a few months back), so I don’t know how it will work translated to television.

But I’m betting it’ll still be better than anything at your local multiplex this summer.

(This column originally appeared at FearZone)

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Full credit and complete article (232 movies listed) HERE

March 22, 2011

Best Of, South Korean Cinema.

by Eric-Scissorhands imdb.com

I LOVE Asian Cinema. Films from Hong Kong, Taiwan, Japan as well as a few South East Asian features. However, for the past few years Ive been noticing a trend... a lot of the truly GREAT, Original films Asian or Non Asian alike have been coming out of SOUTH Korea. It seems they have been going through a "film renaissance" in the past few years and have been releasing great film after great film after another.

Today their film industry reminds me of how Hollywood used to be, from way back in the 70's BEFORE they started remaking EVERYTHING and adapting every comic book and video game there is (and doing a horrible job mind you), back when the movies that came out were original and superbly directed.

Ive compiled a list of some of the Best South Korean films Ive seen so far. And if you're anything like me, burnt out on crappy Superhero films (not counting the Nolan Batman Trilogy of course.), Pointless Horror Sequels and more mindless Hollywood turds, Feel free to give this list a look through and provide a few suggestions if i missed any notable ones... im always upen to "discover" more gems.

1. Oldboy (2003) 8.4/10

2.

I Saw the Devil (2010) 7.8/10

“ No one does Modern Revenge films quite like East Asian Cinema.

Another instant Classic. Brutal stuff. ” - Eric-Scissorhands

3. Memories of Murder (2003) 8.1/10

4. Tae Guk Gi: The Brotherhood of War (2004) 8.1/10

5. Castaway on the Moon (2009) 8.0/10

6. J.S.A.: Joint Security Area (2000) 7.8/10

7. Lady Vengeance (2005) 7.7/10

8. Welcome to Dongmakgol (2005) 7.7/10

9. Spring, Summer, Fall, Winter... and Spring (2003) 8.1/10

10. My Sassy Girl (2001) 8.1/10

11. Sympathy for Mr. Vengeance (2002) 7.8/10

12. A Bittersweet Life (2005) 7.7/10

13. The Man from Nowhere (2010) 7.8/10

14. The Host (2006) 7.0/10

15. A Moment to Remember (2004) 8.2/10

16. A Tale of Two Sisters (2003) 7.3/10

17. 3-Iron (2004) 8.0/10

18. The Good, the Bad, the Weird (2008) 7.4/10

19. Crying Fist (2005)7.4/10

20. Thirst (2009) 7.1/10

21. Mother (2009) 7.9/10

22. The Chaser (2008) 7.9/10

23. The Classic (2003) 7.7/10

24. Save the Green Planet! (2003) 7.4/10

25. Peppermint Candy (1999) 7.7/10

26. Poetry (2010) 7.7/10

27. Failan (2001) 7.7/10

28. Bedevilled (2010) 7.2/10

29. Oasis (2002) 7.9/10

30. I'm a Cyborg, But That's OK (2006) 7.0/10

31. Mr. Socrates (2005) 6.5/10

32. Secret Sunshine (2007) 7.4/10

33. The Warrior (2001) 7.3/10

34. Some (2004) 6.1/10

35. Public Enemy (2002) 7.1/10

36. Samaritan Girl (2004) 7.2/10

37. Barking Dogs Never Bite (2000) 7.0/10

38. Kiss Me, Kill Me (2009) 6.9/10

39. The City of Violence (2006) 6.7/10

40. The Coast Guard (2002) 6.5/10

41. A Brand New Life (2009) 7.3/10

42. The King and the Clown (2005) 7.5/10

43. Arahan (2004) 6.7/10

44. Guns & Talks (2001) 6.9/10

45. The Bow (2005) 7.1/10

46. The Show Must Go On (2007) 7.1/10

47. The Isle (2000) 7.0/10

48. Time (2006) 7.2/10

49. No Mercy for the Rude (2006) 7.3/10

50. The Recipe (2010) 7.0/10

51. Attack the Gas Station! (1999) 6.9/10

52. Daisy (2006) 7.3/10

53. The Housemaid (2010) 6.6/10

54. Address Unknown (2001) 7.3/10

55. Friend (2001) 7.3/10

56. Last Present (2008) 7.2/10

57. A Dirty Carnival (2006) 7.5/10

58. The Quiet Family (1998) 7.0/10

59. Die Bad (2000) 7.0/10

60. Christmas in August (1998) 7.6/10

61.To Sir with Love (2006) 6.0/10

62.Treeless Mountain (2008) 7.0/10

63. Holy Daddy (2006) 6.3/10

64. Painted Fire (2002) 7.1/10

65. The World of Silence (2006) 7.1/10

66. Secret Reunion (2010) 7.1/10

67. Virgin Stripped Bare by Her Bachelors (2000) 6.9/10

68. Punch Lady (2007) 7.2/10

69. Fighter in the Wind (2004) 6.9/10

70. The Foul King (2000) 7.0/10

71. Breathless (2008) 7.5/10

72. The Spirit of Jeet Kune Do (2004) 7.5/10

73. Champion (2002) 6.5/10

74. Shadowless Sword (2005) 6.5/10

75. Driving with My Wife's Lover (2006) 6.5/10

76. My Brother (2004) 7.2/10

77. Three... Extremes (2004) 7.1/10

78. Hahaha (2010) 6.8/10

79. Man of Vendetta (2010) 6.8/10

80. The Way Home (2002) 7.5/10

81. Addicted (2002) 7.2/10

82. Rules of Dating (2005) 6.5/10

83. No. 3 (1997) 6.7/10

84. Windstruck (2004) 7.1/10

85. The Yellow Sea (2010) 7.3/10

86. Bad Guy (2001) 6.8/10

87. More Than Blue (2009) 7.2/10

88. Acacia (2003) 5.8/10

89. Into the Mirror (2003) 6.5/10

90. Murder, Take One (2005) 6.4/10

91. Feathers in the Wind (2004) 7.3/10

92. With a Girl of Himalaya (2008) 6.7/10

93. Marriage Is a Crazy Thing (2002) 7.3/10

94. Oishii Man (2008) 7.1/10

95. Antarctic Journal (2005) 6.3/10

96. Take Care of My Cat (2001) 7.3/10

97. Maundy Thursday (2006) 7.3/10

98. Il Mare (2000) 7.6/10

99. Lover's Concerto (2002) 7.3/10

100. Enemy at the Dead End (2010) 7.1/10

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May 18, 2012

I Saw The Devil

Credit: cinefemale.com

South Korean cinema has increased in popularity in North American due it’s highly cinematic take on the thriller, (Oldboy, Park Chan-wook, 2003), and the monster movie (The Host, Bong Joon-ho, 2006). These two blockbusters and their perspective directors set the bar high in terms of creating a national cinema known for it’s delicate balance between beautiful cinematography and gruesome/brutal imagery. Kim Ji-woon added to the growing discourse with his 2010 blockbuster, I Saw The Devil, and by all means, he continues to portray a national allegory throughout a vengeance plot filled to the brim with violence. A national SK cinema is not what I want to discuss, however. What’s of interest to me with this particular film–and something I noticed while re-watching it the other day–is it’s portrayal of violence. It’s not necessarily innovative and new, but extremely raw and effective. It does what Hollywood’s torture porn franchises (Saw, Hostel) only dream they could. That is, make a movie that is physically and emotionally affective.

If this isn’t your first foray into the world of Korean cinema, you’ll immediately recognize the main players. The killer appears as Choi Min-sik, the actor formally known as Oh Dae-su, as well as the child killer in Chan-wook’s Sympathy for Lady Vengeance. He’s a masterful actor, known for his gritty roles as much as his bold acting style that has since deemed him as critical acclamation… (you can thank Quentin Tarantino for making this guy a namesake in North America). The other lead, Lee Byung-hun, is a familiar face as well, known for his role in A Bittersweet Life, although I must admit I only know him previously from the short film Cut (which is f ucking spectacular, by the way). He’s has a very sweet quality to his acting style, and besides being really handsome this guy will bring you to tears when you see him cry over the loss of his pregnant wife.

What makes I Saw The Devil so spectacular is how it consistently breaks filmic taboos in a way that should not, but does work. For instance, the film is almost three hours long, but you won’t for a second be bored. As well, the excessive violence towards women connotes a fairly misogynistic text, but it isn’t. Min-sik’s character starts off as a serious sicko. Whereas Byung-hun begins as the heroic lead, protecting his wife’s honor through the commonly-used Korean revenge plot. The gore should be excessive because it’s non-stop. There’s everything in this film from a direct snuff reference to Flower of Flesh and Blood to torture porn money shots such as achilles tendons being cut. My fav! I do love me some gore, so be warned this movie is not for the faint of heart. However, Ji-woon manages to create a film so formally dynamic that the violence is downplayed by the storyline and the visuals. The torture stops being excessive because it loses importance in the light of the narrative.

What’s really fascinating is the game of cat and mouse both actors plays, where the definitive roles of villain and hero become muddled. Byung-hun is so poisoned by crime committed to his wife that he nearly forgets his moralistic goals in light of exacting a cold hearted revenge. Min-sik too is degraded through Byung-hun’s constant torture and torment, so much so that the audience almost cringes and feels bad when his wrist is broken and his richard simmons beat. But the second our emotions are manipulated one way, Min-sik is shown trying to sexually assault a nurse and we’re back to where we started. And then we want to see his richard simmons beat again. The audience’s desire to see the on-screen torture is almost as cruel as the physical torture itself. It feels good, man.

Character dynamics are not the only absorbing aspect of this film. The cinematography sucks you right in. For a film that boasts over two hours long, which I understand may be too long for casual viewers to sit through, I Saw The Devil does not stall or lag. You can tell off the bat that this film is artistically defined by it’s opening windshield shot. I love these shot set-ups; they’re reminiscent of Tarantino and even a tinge of Hitchcockian influence. I wonder if it’s a required trait of Korean blockbusters to utilize the “floating camera” because muchlike Chan-wook’s films, the camerawork in I Saw The Devil floats seamlessly through the landscape and between characters. The close-ups as well are relentless; closing in on the emotional and physical torture the characters endure. South Korea has never seemed so beautiful and simultaneously disturbing.

As a horror-driven thriller, the focus of the plot is really about family and the most important aspect of human relationships… love. As cheesy as it sounds, I Saw The Devil uses the family trope appropriately. Not as a means to provoke tears from it’s audience, but to lessen the gap between characters and audiences. Byung-hun’s pain is evident, and the desperation he feels from the failure to protect his wife must be due to the actor at hand. Anyone else may have made the role too cliche and tacky to be relatable, but Byung-hun has it down. The familial aspect is symptomatic of the Korean blockbuster, but I still wouldn’t recommend letting your twelve year-old sister watch this movie just yet.

I don’t want to talk about the ending because it’s better if you’re left thinking, “what the hell happens?” Just see it. Unlike a lot of films that claim to be “thrilling”, I Saw The Devil is a thriller that actually thrills. I haven’t said that about a Hollywood thriller since, ugh, Se7en (hate to admit it), or better yet, Silence of the Lambs.

Catch this film.

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May 26, 2012

REVIEW: Doomsday Book (2012)
Credit: Seen in Jeonju

When news of this omnibus started circulating, many film websites and critics expressed an interest in it, and why not? The two directors, Kim Ji-woon (I Saw the Devil, Bittersweet Life, A Tale of Two Sisters, etc.) and Im Pil-seong (Hansel and Gretel, Antarctic Journal, and more) had more than proven themselves over the years for some memorable and innovative film-making. And the cast comprising the three short films that make up Doomsday Book is promising with such familiar names as Ryu Seung-beom, Bae Doo-na, Park Hae-il, Kim Kang-woo, Kim Gyu-ri and other well-respected actors. Despite the buzz surrounding the film, I remained skeptical for several reasons. The first had to do with the topic of the first story..zombies. If you have been reading this site since the beginning, you know that I have always be hopeful for a good Korean-made zombie film, a sub-genre of horror that has been absent from Korean cinema with but a few exceptions starting in the 1980s. More recently we had the films Neighbor Zombie, Dark Forest and Mr. Zombie, but each time I go my hopes up, I have been disappointed. Being skeptical on that ground was just a case of ‘once bitten, twice shy.” Another reason I was not excited was because I had read some rumors about investors pulling out and long delays in shooting, never a good sign. Finally, when still images and teasers started to appear, I was uncertain of the visuals. I did not care for the robots looking so much like they did in the American film I, Robot and I had my reservations about the giant 8-ball that was appearing in the trailers.



On the whole, I feel justified in having my reservations. I do not think that Doomsday Book lived up to expectations people had and even I, who was not expecting too much, wound up disappointed on several levels.

The first story in the three-part omnibus is Cool New World, features the end of the world via zombie apocalypse. Ryu Seung-beom has some excellent acting moments, especially post-transformation. The night club scene is well handled and I think they may be the first time I have ever seen a zombie movie present a clear cause for the zombie virus. That, and the point hinted that the zombies, although fueled by hunger as in every other zombie movie seem to still be capable of other emotions separate it a little from a myriad of other, similar films.. but is it enough? I would have liked to have seen both of those areas expanded upon. As it stands, the short film seems too brief and the characters themselves become secondary as the plot erupts all over the place and tries to cover too much ground. Some characters who are introduced as being exposed to the same zombi-making agent disappear. Stories about what happened to each of them, might have been more satisfying than the newscasts the director opted to show. I would say that this film is worth watching for Ryu-as-a-zombie, but the story itself feels rushed and/or edited too heavily for time constraints.

The second of the three was my least favorite. Heavenly Creature was very wordy as the idea of the end of the world via robots is broached. It is filled with philosophical ideas and light on action.. so it may appeal to some. However the ideas discussed at length were nothing new if you have ever read anything by Isaac Asimov. This section of the movie could not hold my interest, although some of the visuals were beautifully shot and framed. It was for this reason I selected the poster featuring Heavenly Creature on it to head this post, rather than the posters showing the other movies.

The final film, and honestly the one I thought I would dislike the most, was actually my favorite. It is the only one of the three directed by Im Pil-seong and he set a tone that was clearly tongue-in-cheek. It is another end of the world scenario, this time by collision with an object from space, but it never for a minute takes itself seriously. This is the one with the giant 8-ball which confused and worried me in the teaser trailers. However, within the minimal logic of the film, it makes perfect sense. Director Im also makes use of the newscasts to tell a story, but unlike in Kim’s zombie story, the news in Happy Birthday is fun to watch and the final broadcast before the end of the world alone is worth watching. It may have been a little childish at times, but Happy Birthday offered something unique and I appreciated that.

I wish that the rest of Doomsday Book had been so innovative. It is still worth watching, but it does not live up to its potential.

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June 4, 2012
Look East Korean film fest: 'Poetry,' 'The Host' in 3-D top lineup
Ten films from South Korea, including 2010's acclaimed "Poetry" and 2009's Park Chan-wook vampire drama "Thirst," will screen as part of the inaugural Look East: Korean Film Festival, which will take place at Grauman's Chinese Theatre June 23-24, organizers announced Monday.
The lineup includes the 2005 film "A Bittersweet Life," starring Lee Byung-hun, who will appear in person for a Q&A and who will be among the first Korean performers in the history of the legendary Hollywood movie palace to have his handprints and footprints added to the theater's courtyard.
Also showing at the festival will be the 1958 drama "Flower in Hell" and the 1949 film "A Hometown in My Heart," both U.S. premieres; 2004's "3 Iron" from respected auteur Kim Ki-duk; "Poetry," from Korean writer-director Lee Chang-dong and starring the acclaimed actress Yun Jung-hee; and Todd McCarthy's 2007 documentary "Pierre Rissient: Man of Cinema." French filmmaker and champion of Korean cinema Rissient will be on hand for a Q&A.
A 3-D version of the 2006 horror film "The Host," directed by Bong Joon-ho, also will be included in the lineup.
For a complete list of films, information about tickets to screenings and other events related to the festival, go to www.LookEastFestival.com

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June 8, 2012
LOOK EAST 2012 Film Festival
Movie ticket info and Afterglow Pass purchase (for event with Lee Byunghun on 6/23, etc) are now available at the official website

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June 16, 2012
The Good, The Bad, The Weird (2008): A Kimchi WesternSource: mikesfilmtalk.com
Written and directed by Jee-woon Kim (I Saw The Devil, A Tale of Two Sisters) and starring Kang-ho Song (Sympathy for Mr Vengeance, The Quiet Family), Byung-hun Lee (I Saw the Devil, G.I. Joe: The Rise of Cobra) and Woo-sung Jung (Demon Empire, Daisy) The Good, The Bad, The Weird is Jee-woon Kim’s loving homage to the spaghetti westerns of Sergio Leone.
Winning four awards and receiving nine nominations, TGTBTW is the second highest grossing film from South Korea only being beaten by Speedy Scandlal.
Set in 1930′s Manchuria, the film begins with The Bad(Byung-hu Lee) being paid to get hold of a Japanese treasure map being transported by train. Unfortunately for The Bad, someone else has just beat him to it. The Weird (Kang-ho Song) is already on the train and disguised as a snack vendor makes his way into the guarded rail car that has the map.
The train is stopped by The Bad and his cronies who have blocked the track. The Weird uses this opportunity to escape from the train, with the map, on his side car motorcycle. The Good, a bounty hunter (Woo-sung Jung) attempts to shoot both The Bad and The Weird.
The Good finally decides to chase after The Weird. They all wind up in a village where the Ghost Market operates from. The Ghost Market is a black market meeting place and since everyone seems to know about the treasure map, a gang of Manchurian bandits also want it.
Cue a brilliantly choreographed shoot out between all of the warring factions.
This film does mimic the Sergio Leone classic The Good, The Bad, and The Ugly to a degree, but only in rough terms of characters and the overall plot. Byung-hun Lee is the Lee Van Cleef of the picture, Kang-ho Song is the Eli Wallach, and Woo-sung Jung is the Clint Eastwood.
Jee-woon Kim adds just the right amount of pathos and humour to the film. It is paced perfectly and does not waste a single frame of film. The only complaint that I might possibly have about the film is the casting of Byung-hun Lee as The Bad. He was so charismatic and charmingly bad that I actually liked him.
Kang-ho Song as The Weird, almost steals the film. He is both comic relief and deadly enemy. He is also the slowest of the three mentally, but what he lacks in brain power he makes up in sheer enthusiasm. He is a bumbling bad man and only chances upon the Japanese treasure map by accident.
Woo-sung Jung is very, very good…as The Good. He lacks the stoic ability of Clint Eastwood’s Character but he makes up for it in his taciturn attitude about bringing the bad guys in for the bounty.
The group of bandits also provided a lot of comic relief, but they also were very deadly if somewhat dense foes.
The Good, The Bad, The Weird is Jee-woon Kim at his finest. He has so far done a couple of horror films, a gangster film, a psychological thriller and an epic western. I cannot wait to see his next venture. What ever it is, I sincerely hope that is has room for Byung-hun Lee,  Kang-ho Song, Woo-sung Jung and maybe Min-sik Choi.
I really feel that South Korean Cinema is leading the rest of the world in producing brilliant films. I also think that they are one of the few countries that still see the director as Auteur. That French invention that likens the director to a sort of demi-god status.
Asian Cinema seems to have more than its fair share of writer/directors and for the most part what ever accolades that they’ve received for their works is well deserved. I think that Jee-woon Kim has earned the title Auteur and may he continue to make films to prove it.

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