Director Kim Jee Woon 김지운 Kim Ji Woon

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October 11, 2009

Review: A Bittersweet Life

By Martin– October 11, 2009

Sunwoo is the very trusted right hand man of underworld boss Kang. When Kang plans to goes away for three days he asks Sunwoo to keep an eye on his young girlfriend whom he suspects may be cheating on him. Sunwoo keeps an eye on the girl who begins to intrigue him, while keeping things under control at his boss’s hotel. Sunwoo is a man who likes to remain in control at all times – using whatever means are necessary. One day he makes an uncharacteristically merciful decision, the result of which changes his life completely…

Review

It would be too easy to class A BITTERSWEET LIFE just as yet another revenge thriller coming out of Korea, too easy to compare it to Chan Wook-Park’s powerhouse ‘Vengeance’ trilogy. A BITTERSWEET LIFE does have a plot in which revenge becomes the central aspect, but the film doesn’t really fit into the same category as OLDBOY because other than the revenge theme it is quite different – casually re-writing the ‘gangster needs to get payback’ plot with lashings of John Woo, Layer Cake, Taxi Driver – and even Tarantino – but mixing it all up to give us something totally unique and even quite extraordinary. To give too much of the plot away would be a crime against the film – although it’s actually fairly simple and straightforward without much sub-plot. This really works in the films favour as it always feels immediate, building slowly throughout up until its amazing ending.

Put simply, the cast of A BITTERSWEET LIFE is fantastic. Lee Byung-hun gives yet another memorable performance, here as the straight faced Sunwoo, looking as sharp as hell in his tailor-made suits and also performing the action scenes with an unnerving energy. For any other actor this would be a career defining performance, but Lee Byung-hun carries these kind of roles with total confidence and he never looks better than when under the direction of Kim Jee-woon (check out the recent THE GOOD, THE BAD & THE WEIRD for proof!). Kim Young-chul is also very good as boss Kang, bringing one of those performances that only older actors can really pull off with a real presence – a confidence that can seemingly only come with age and experience. All of the rest of the performances in the film are equally as good – and that’s saying something.

The other star of the show – director Kim Jee-Woon (who gave also gave us the marvellous A TALE OF TWO SISTERS, THE FOUL KING and THE QUIET FAMILY) – embellishes the film at every opportunity with fancy camera work and a brilliant soundtrack. Like A TALE OF TWO SISTERS, A BITTERSWEET LIFE has something of an eerie almost ghost-like quality which makes sense its cinematic approach towards ‘life’, managing to push it up into a heightened sense of reality. At times the film is quite poetic but long tracking shots and moments of silence are punctuated with violence – check out the scene where Sunwoo should be trying to fall asleep and is casually flicking the light on and off. Every shot in the film appears to have been meticulously planned and painstakingly created. The ‘cool’ suits that gangsters wear in these films look even crisper than ever, lit as if they were in a commercial and Jee-woon isn’t a man who is afraid to make the most of his architecture and colour schemes.

If you enjoyed the way in which A TALE OF TWO SISTERS subverted its genre, then A BITTERSWEET LIFE does the same for the gangster film. Simple on the surface but complex underneath, it’s one of those films that you will probably re-watch fairly quickly. As much a referential piece to the other films it appears inspired by, it’s a film that is a genuine pleasure to watch throughout. From a team of actors and filmmakers who appear at the top of their game – and from a director who doesn’t seem to know what anything less than the top of his game is – A BITTERSWEET LIFE is one of the ‘great’ films from the last few years. In fact performance-wise, visually, musically and thematically, A BITTERSWEET LIFE is just about perfect.

THE ORIGINAL VERSION OF THIS REVIEW WAS ORIGINALLY PUBLISHED ON KFCCINEMA.COM

Buy from Amazon: ‘A Bittersweet Life’ [2005] [DVD] amazon.co.uk Source: newkoreancinema.com

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ISTD teaser Japanese version, copied from innolife.net

VOD download

Upcoming Films (by Tom Giammarco and Darcy Paquet)

I SAW THE DEVIL. ("Akmareul boattda") In the wake of his successful Western The Good, The Bad, The Weird, Kim Jee-woon was originally planning to shoot a US remake of the 1970s era French thriller Max and the Junkmen. However when progress on that project began to slow, he turned to a smaller project that he had been developing in parallel. I Saw the Devil is a violent thriller about a psychopath who kills for pleasure, starring Choi Min-sik of Oldboy fame. However when he kills the fiancee of a top secret agent, the bereaved agent (played by Lee Byung-hun) turns into a monster himself in order to extract revenge. Reportedly so grisly that many top distributors wouldn't touch it, the film will likely reach theaters in late summer or early fall. Teaser

Source: koreanfilm.org

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January 13, 2010

Review: A Tale of Two Sisters (Kim Ji-woon / 2003)

By Martin– January 13, 2010

Sisters Su-mi and Su-yeon arrive home after time away for treatment of an illness. The girls have a very close and happy relationship with each other but are united in their dislike of their stepmother, a problem that their father seems content to ignore. Enjoying the comfort of a big old house, the peace and quiet is soon disrupted by some very strange occurrences…

The Film

Recently remade in the U.S. as THE UNINVITED – a film which seemed to slip under the radar of most people, it certainly did for me – A TALE OF TWO SISTERS isn’t typical Hollywood fodder (although I can see the reason for the interest in a remake) as it’s the type of film that is totally reliant on a very skilled director like Kim Jee-woon to successfully deliver. Merging horror and drama – and treating each with a gentle touch rather than succumbing to the temptation to be more aggressive – A TALE OF TWO SISTERS is a delicate balancing act of stunning visuals, impressive performances and intelligent writing. Slow paced in the best way possible, it’s a film that unwinds carefully and on the surface has only a few typical ‘horror’ moments. The type of film that requires concentration throughout, A TALE OF TWO SISTERS stays in the mind for a long time after viewing.

Following two very successful comedies – THE QUIET FAMILY and THE FOUL KING - stylish director Kim Jee-woon made a complete change of direction with A TALE OF TWO SISTERS, one that at the time appeared quite unexpected given the directors ‘comedy’ credentials. With atmosphere at the forefront there’s nothing much in the film that will have you closing your eyes in disgust, or screaming at the characters to ‘run away’. Instead, A TALE OF TWO SISTERS gently sidles up to you before getting under your skin. I found it creepiest when the film had actually ended, and I was thinking about it. Sound stupid? The reason for this is that you need to watch the film all of the way through to make any sense of it all. There’s a moment in A TALE OF TWO SISTERS – about two thirds of the way through – when something happens that makes you go ‘what?’ It’s from this point that the film begins to seem to start making sense, yet at the same time other parts get more confusing. You’ll have to see it to see what I mean, but it is because the story is dependent on the films actual structure itself. There’s a couple of references in A TALE OF TWO SISTERS to other horror films released at the same time such as RING and AUDITION – although this is a film with much more restraint and lacks the graphic delight / horror of AUDITION, and without the rigid ‘count-down’ structure of RING. The story’s structure in A TALE OF TWO SISTERS is the main key to understanding it. The film is actually loosely based on a Korean folk-tale, and has been previously filmed in various versions at l;east five times before. This wasn’t a story that I was familiar with and so I can’t compare this with any of the other versions, but to me the story seemed fresh and continually interesting.

The performances throughout A TALE OF TWO SISTERS are excellent from the whole cast. The two girls, played by Im Soo-jung and Moon Geun-young, hold the film with ease and manage to make sure that you can’t tell if you’re supposed to sympathise with them or if there’s something more sinister underneath. Yeom Jung-ah as the step-mother also gives a strong performance in a difficult role, and with A TALE OF TWO SISTERS she marked herself out as an actress to keep an eye out for in the future.

Ultimately A TALE OF TWO SISTERS is a gothic horror film and being so the backgrounds and surroundings in the film (largely the house) take on a character of their own. There’s lots of long tracking shots which really give you the sense of the space, but also make you worry about what may be around the corner. It’s beautifully shot and every scene seems to have been carefully planned with an artist’s eye, and A TALE OF TWO SISTERS is still the most striking Korean film that I have seen visually yet.

It won’t be to everyone’s tastes, but A TALE OF TWO SISTERS will stick in your mind. I have been intentionally vague about the way the plot develops here, but this is because it would be easy to give away the story to a film which impresses with its subtleties and originality. If you do like A TALE OF TWO SISTERS (you probably will!), you’re likely to want to see it again to work out its hidden layers.

Source: newkoreancinema.com

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KJW-CMS-LBH The Power of Three Men, Too Strong!

http://www.esportsi.com/bbs/zboard.php?id=...asc&no=3781

Thanks to the highlight at GBW cafe daum 5944 This is a must-watch clip some of GBW, BSL & Oldboy scenes featured too.. total badass and bloodfest!

[Movieworld] KJW-LBH-CMS 'I Saw The Devil' filming BTS

or Original Link

Very clear CAPTURES at ISTD naver cafe, check it out! HERE

Captures by EverythingLBH, more at the movie thread

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June 8, 2010

Finecut presells I Saw the Devil to three more territories

The eagerly anticipated new thriller from Korea’s master stylist Kim Jee-woon, I Saw the Devil is ratcheting up the number of pre-sales deals for sales rep Finecut, with England, Taiwan and Turkey picking up rights. The horror-thriller stars top actor Lee Byung-hun (The Good, The Bad, The Weird) and marks the mainstream comeback of famed thespian Choi Min-sik (Old Boy).

U.K. based film distribution company Optimum Releasing picked-up rights to the thriller which is close to wrapping production and due out locally in late-summer. Optimum had previously bought rights to several Korean films including The Host and Chaw for U.K. release.

Taiwanese distributor Catchplay and Turkey’s Bir Film also purchased release rights to the film. In addition, Finecut previously struck a major sales deal with ARP for France during the Cannes festival market. ARP had bought rights to KIM’s 2008 feature The Good, The Bad, The Weird. Kim’s filmography includes A Bittersweet Life (2005), A Tale of Two Sisters (2003) and The Foul King (2000).

I Saw the Devil is the tale of an extreme psychopath (played by Choi) who kills for pleasure. When the daughter of a retired police chief becomes victim of his next horrific pleasure-kill, her fiancé, a secret agent (played by Lee), tracks him down and designs a vengeance as gruesome as is in his power to deliver.

Source: Nigel D’Sa (KOFIC)

Thanks to the highlight at PlanetBH0712 really large captures at ISTD naver gallery

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Highlight at news.nate.com, courtesy msff.or.kr

Beyond the barriers of genres 2010.6.24 ~ 7.1

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June 23, 2010

2010 Action-thrillers

Lee Byunghun-Choi Minsik 'I Saw the Devil' No.1 Most Anticipated Acting Showdown

1. I Saw the Devil (Choi Min Sik, Lee Byung Hun, Dir. Kim Ji Woon) 52%

2. Unfair Trading (Hwang Jung Min, Ryu Seung Beom) 23%

3. Troubleshooter (Sul Kyung Gyu, Lee Jung Jin)13%

4. Mujeokja (Song Seung Hun, Joo Jin Mo) 11%

Source: nate.news.com

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Thanks to the highlight at PlanetBH0712, 2010 movie survey at cine21.com

Most anticipated return of famous Director

1. Dir. Kim Ji Woon (I Saw the Devil) 64.5%

2. Dir. Ryu Seung Wan (Unfair Trading) 15.3%

3. Dir. Song Hae Seung (Mujeokja) 10.2%

4. Dir. Lee Jeong Beom (The Man from Nowhere) 10.1%

TimelessLBH

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July 5, 2010

New wave of pop culture redefines Korea

By Andrew Salmon

Contributing writer

In 1990, the American academic Joseph Nye coined the term “soft power.” This referred to nations winning friends and influencing people through the attraction of their values, culture, institutions and policies, as opposed to “hard power,” based on coercion and payment. At the heart of soft power is the assumption that other people “want what you want.”

This theory rationalized much of what the United States already offered, disseminated and lived up to ― or, at least, attempted to live up to: values such as political freedom, liberal democracy and free market economics. While these values could be disseminated by policies and institutions, it is, arguably, the US entertainment industry that has done most to disseminate the “American dream” globally.

A Changing Korea

“Soft power” challenged Korea’s traditional development paradigm. From the 1960s, authoritarian governments had placed absolute primacy on economic growth. Social and political development was de-prioritized as the entire nation was hitched to an economic locomotive that would convey Korea to the terminus of “advanced nations.” It succeeded: Economically, Korea is arguably the greatest national success story of the 20th century:

On prosperity’s heels came demands for political freedom. After a decade of struggle, people-power demonstrations overthrew the military government in 1987. Though it had slow and uncertain beginnings, democracy took root. As the 1990s unfolded, political democracy engendered a social liberalism that seeped into society.

What values encapsulated this changing Korea ― a nation with an ancient heritage and a powerful cultural grip on its people, but one that was new to prosperity, democracy and liberalism?

In the 1980s and 1990s, Singapore’s Lee Kuan-yew and Malaysia’s Mohamed Mahathir argued for “Asian Values,” as an alternative to what they saw as the irresponsibility and excessive liberalism of the West. Critics saw “Asian Values” as a cover for authoritarianism and anti-Westernism, but few thinkers had the credibility to challenge them.

It would take freedom fighter and Nobel Peace Prize laureate Kim Dae-jung to shoot down this paradigm in a brilliant 1994 essay in Foreign Affairs Magazine, “Is Culture Destiny? The Myth of Asian Values.” Kim argued that his country’s ultimate destiny was to improve Western concepts by reference to Asia’s own ancient traditions of democracy, rule of law and respect for the individual, rather than ignore them

A New Wave Gathers

In the early 1990s Korea was liberalizing. Previously restricted from taking overseas trips, Koreans could now study abroad. A number traveled to the US and elsewhere to attend film schools and examine cultural content industries. By the mid-1990s, people like Lee Seung-man, who would form SM Entertainment, soon to be Korea’s leading pop music powerhouse, were returning home with new ideas. In 1996, censorship laws were declared unconstitutional. What had once been taboo ― from scantily-clad singers oozing sex appeal while they lip-synched on live TV, to filmmakers portraying North Koreans sympathetically ― was increasingly acceptable on Main Street, Seoul.

In 1997-8, the economic crisis shook the old entertainment industry. New opportunities appeared for new entrants; financially disciplined firms such as CJ and Orion invested. The crisis had exposed deep faults in the old economic system, and smart graduates who would once have sought safe careers in chaebol were now considering ventures or the content industry.

Conglomerates such as Samsung and Hyundai were reluctantly divesting multiple lines to concentrate on core products: For the first time, chaebol were forced to focus. Specialization became the norm. Branding took off. Meanwhile, the foundation of a hi-tech infrastructure laid in the mid-1990s was enabling Koreans to leverage the Internet and mobile telecommunications more efficiently than anyone else.

The Wave Breaks

This combination of factors was, by the end of the 1990s, generating a creative wave of popular culture This new content combined slick production with professional marketing, underpinned by a key local ingredient - the raw emotion Koreans express so passionately. As Korean music, soap opera, film and computer games flooded the continent, from East Asia through to the Middle East, Chinese reporters coined the term, Hallyu (“Korean Wave”) to describe what was happening: A sudden surge of funky new content streaming out of a nation that had previously exported industrial, but not cultural content.

“Winter Sonata” (2002) a typically syrupy soap opera, drove Japanese housewives wild over its star, Bae Yong-joon ­ better known by the honorific “Yonsama” in the island nation. Bae became Korea’s first international sex symbol, and his profile reached such stratospheric heights that he was invited to appear on television alongside Japanese prime ministers. Daejanggeum (2003;”The Jewel in the Palace”), featuring the trials and tribulations of a chef in the Joseon Dynasty palaces, became the most widely watched TV program in Hong Kong’s history. And violent noir thriller “Old Boy” (2004) raked in a bucketful of prestige for the local film industry when it captured the Grand Prix at the Cannes Film festival.

Korea’s brand added value at a rate that sent it soaring off all previous charts. “Winter Sonata” did more for Korea’s image in Japan than any PR activity by the Korean Tourism Authority could ever hope to match, as Japanese matrons flocked to Korea to visit filming locations and go on “Yonsama” shopping tours. Moreover, “Daejanggeum” put Korean cuisine on the map region-wide. In Hong Kong, Korean restaurants serving hanjongsik (the table d’hote served in aristocratic and royal households) gained overnight popularity, with hungry viewers reportedly queuing outside their doors. (Life even imitated art: Gyeongbok Palace, Seoul’s top tourist attraction, added a Daejanggeum-style kitchen display.) “Old Boy”(2004) would not necessarily attract tourists to its shoddy and violent Seoul backstreets, but it won plaudits from pulp wunderkind Quentin Tarantino and proved that Korea could do thrillers that were as violent, cool and edgy as anything coming out of Hollywood or Hong Kong.

While the wave did not self-consciously present “Korean values” it did represent “Korean value:” Korean films and soaps were cheaper than their US or Japanese counterparts.

And there were some inbuilt “Asian values:” Many of the themes of the wave products were recognizable to Asians who shared similar familial/social structures. For example, many of the contradictions built into these structures lay at the heart of a number of smash-hit Korean soap operas. Moreover, there was no inbuilt historical antipathy toward Korea ― a factor that Korean directors believed inhibited Japanese pop culture’s outreach.

With soap opera and pop video depicting glamorous lifestyles, local manufacturers utilized product placement to reach audiences commercials could not, and leveraged Korean stars as product endorsers. For viewers in China and Southeast Asia, Korea’s lifestyle became aspirational.

While soaps restricted themselves to social critique ­ albeit, viewed, often, through rose-tinted lenses ­ Korean film took on bolder themes. “JSA”(2000) was a groundbreaking take on national division; “Silimdo” (2004) examined the murky massacre of a secret Korean bloodbath in the Park Chung-hee era; and “The King and the Clown” (2005) dealt with homosexuality in Olde Corea. It is difficult to see this kind of material being produced in some of the region’s more repressive states. For Asian viewers, it became clear that 21st century South Korean society was more open and liberal.

Old Wave?

The wave peaked in 2005, when Korea sold $22 billion worth of pop culture abroad. Today, the “Korean Wave” is an old hat. Korean content is no longer new; it has become part of the Asian and ― increasingly the global ― entertainment fabric. Now, with a greatly improved distribution infrastructure ― multiplex cinemas and a proliferation of cable ― it is no longer so necessary for Korean producers to sell abroad; the local market has matured.

Although Seoul mandarins have been oddly unsuccessful in promoting the nation’s economic model to the developing world, the cultural industry has showcased its results. The wave disseminated an attractive new perception around the region; the national brand was elevated from a factory-scape inhabited by fierce workers, salary men and soldiers, to a prosperous, funky and open society: “Kool Korea.”

Yet on the political/strategic front, the “soft power” embedded in the Korean Wave may yet impact the steepest geopolitical challenge facing the peninsula: Reunification. Through South Korean films and dramas smuggled into North Korea, decades of Pyongyang’s state propaganda are being undermined: If South Korean society is aspirational for Southeast Asians, how much more alluring must it be to impoverished and downtrodden North Koreans? This aspect of soft power may eventually prove as important a factor in crumbling the walls of Kim Jong-il’s benighted nation as any single aspect of hard power.

On the crest of the wave: 10 must-see Korean movies

While Korean TV dramas ― with their “lay it on thick” melodrama and formulaic plots ― and K-pop ― with its emphasis on soft-pop, dance choreography and image over musicality ― look unlikely to win the affection of Western audiences in the near future, the new wave of Korean movies stands up to anything in the international marketplace. Below are the writer’s suggestions of 10 of the best from the Hollywood of the East ― and unlike K-pop and most of the soaps, these are available in English-dubbed DVDs.

Swiri(1999)

The one that started it all. South Korean counter-espionage agents in Seoul pursue a ruthless team of crack North Korean killers from one pile of corpses to the next in a race to prevent mass mayhem. The humanizing of the agents from the heretofore demonized North raises Swiri above the level of everyday action cinema.

A swiri is a codeword in the film; it is also a species of freshwater fish native to the Korean peninsula. When the film outdid ‘Titanic’ at the local box office, media dubbed it “The fish that sank ‘Titanic’”

JSA /Joint Security Area (2000)

Taut thriller set in the Joint Security Area between the two Koreas. Two South Korean soldiers stationed at a tense demilitarized zone guard post secretly befriend two North Korean soldiers with similar duties ― but the tentative friendships will have unforeseen and tragic consequences. The plot is as plausible as a CNN news spot and the symbolism is as clear as it is poignant.

Chingu (“Friend”) (2001)

Coming-of-age buddy drama, evocatively set in the 1970s and ‘80s in Busan, the southern Korean port city closest to Japan. A bunch of teenagers, high-school tearaways, find themselves unable to escape the fast track to nowhere as they progress from playground bad boys to grown-up gangsters. Loyalty and friendship are tested to the breaking point, and yes, it all ends in tears.

My Sassy Girl (2001)

OK, this is one film where you almost have to be a fan of Korean TV dramas, but it did explosive business in Hong Kong, and propelled female lead Chun Ji-young to Asian superstardom. Based on a famous Korean Internet novel, wimpy male student bumps into apparently sociopathic young woman ― the “sassy girl” of the title ― and sparks fly. Starts silly, gets melodramatic, but is well carried off. Dreamworks bought the U.S. remake rights.

A Tale of Two Sisters (2002)

Two girls return to their country home after a mysterious illness, only to be terrorized by their wicked stepmother and the apparently supernatural forces that inhabit the house. The plot is a jigsaw puzzle, and the tension mounts effectively ― leading critics to hail this as the equal of the best of the Japanese horror films. Despite being strongly psychological, almost Freudian, in its approach, it is lushly photographed. Dreamworks brought the remake rights.

Silmido (2002)

1968. After a North Korean assassination squad raids the Blue House, Seoul responds by tasking a special unit to take out Kim Il-sung: Composed of convicted criminals, it is trained by Special Forces on Silmi Island off Incheon. When inter-Korean détente sets in, the unit no longer has a mission. The men break out, arm themselves, hijack a bus and head for Seoul, but regular troops are lying in ambush…… Incredibly this was a true story; the film was the most open treatment of the incident ever to come to light, and became a talking point when released.

Memories of Murder (2003)

A deadbeat local cop, in a dead-end rural town, finds himself saddled with a big-city investigator as he attempts to track down a serial killer. Despite the grimness of the theme ― loosely based on a true story ― the film is liberally spiced with black humor and even the shabbiest surroundings are lovingly shot. One enthusiastic reviewer went so far as to call it “the best detective story ever made.”

Spring, Summer, Fall, Winter...and Spring (2004)

Instant art-house classic, underpinned with Buddhist philosophy, from wunderkind director Kim Ki-duk. A young monk at an idyllic floating temple matures under the guidance of his spiritual master. But the outside world harshly intrudes, and the monk, briefly losing his grip, is confronted with love, death and consequences thereof. Beautifully filmed ― a dream captured on celluloid?

Old Boy (2004)

The premise of this stylish noir thriller would have had Alfred Hitchcock applauding in the aisles. A man ― character actor Choi Min-sik, who deserves an Oscar solely on the strength of his desolated facial features ― spends 15 years locked up in solitary confinement in a threadbare motel suite. By whom? For what? His captors remain invisible. Then, one day, he is released……The mystery transforms into an ultra-violent action romp that netted the Grand Prix award at Cannes 2004 ― the year a certain Mr. Quentin Tarantino headed the jury. Nicholas Cage reportedly wants to star in a remake.

The King and the Clown (2005)

Groundbreaking for its depiction of homosexuality in Joseon Dynasty Korea, the film featured the lust of aristocrats ― and the king himself ― for transvestite traveling actors. Lush production values recreated the inner life of the ancient palaces, and the look of the film’s star helped to usher in the “pretty boy” look that today dominates South Korea’s male fashion scene.

Credits: andrewcsalmon@yahoo.co.uk koreatimes.co.kr

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Cute caricature from GBW-KJW cafe.daum

There's always a bit of confusion on Dir. Kim's real birthday, but it (really) turns out last July 6.. like mine.

Happy Belated Birthday, Dir. Kim!

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Thanks to veve111 at EverythingLBH for the naver link plus an awesome treat from Dir. KJW-GBW cafe daum

I SAW THE DEVIL intro link @naver:

http://movie.naver.com/movie/bi/mi/photo.nhn?code=72408

July 15, 2010

'Saw the Devil' Choi Min-sik: "I am the devil in human skin"

View streaming interview HERE

Source: news.nate.com

Source: news.nate.com

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July 21, 2010

Lee Byung-hun pic "I Saw The Devil" to open August 11

Reporter: Lynn Kim

Official movie poster for "I Saw The Devil" [showbox]

Official posters for film "I Saw The Devil" has been unveiled as the pic gears up for its summer box office debut next month.

Film's distributor Showbox announced in a press release on Wednesday that the Lee Byung-hun starrer will hit local theaters on August 11 and released two official movie posters featuring Lee and Choi Min-sik.

With two of the country's top actors in the lead roles, the thriller pic is being lauded as one of the year's most anticipated movies.

"Devil" is helmed by noted filmmaker Kim Ji-woon, who has directed both actors in his previous films; Choi in "The Quiet Family" (1998), and Lee in "A Bittersweet Life" (2005) and "The Good, The Bad, The Weird "(2008).

Lee, 40, has long been considered one of the most popular actors in Korea with dozens of television dramas and films under his belt.

The actor enjoyed a particularly successful year in 2009, making his Hollywood debut in action flick "GI Joe" and co-starring with Josh Hartnett and Takuya Kimura in the film "I Come With The Rain."

Choi, 48, has starred in numerous films, most notably "Swiri" (1999), "Oldboy" (2003) and "Sympathy for Lady Vengeance" (2005).

Reporter: Lynn Kim lynn2878 @ <Ⓒ 10Asia All rights reserved> 10Asia

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July 23, 2010

I Saw the Devil release on August 11

Director Kim Ji-woon’s highly anticipated new thriller I Saw the Devil has its summer release date set for August 11, as announced by the film’s distributor Showbox. Kim’s return to the noir-thriller style of his 2005 hit A Bittersweet Life stars top actor Lee Byeong-heon and leading thespian Choi Min-sik (Old Boy).

Both actors have worked with Kim in previous films, Lee playing the villain in The Good, The Bad, The Weird (2008) and the embattled hero of A Bittersweet Life, while Choi starred in Kim's debut feature A Quiet Family (1998). I Saw the Devil also marks Choi's first return to mainstream filmmaking since his portrayal of a vicious killer in 2005’s Sympathy for Lady Vengeance.

The new film has Choi reprising the role of an extreme psychopath, who, when he makes the daughter of a retired police his latest victim, is tracked down by her fiancé, played by Lee, a secret agent whose scheme of vengeance is equally gruesome.

The film’s international sales rep FineCut has already made a slew of pre-sales deals including to the UK, France, Taiwan and Turkey.

Source: Nigel D’Sa (KOFIC)

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26 July 2010

I Saw the Tale of Bittersweet Life Devil

Posted By: Jaccstev di // movie-cafe.com

South Korean director Kim Ji-woon has an impressive record of successfully tackling a wide range of film genres, acquiring a cult following among Asian films fans all over the world. Started out directing theater, Kim is growing significantly both as a director and a visual stylist as confirmed by two of his most popular films: the intelligent psychological horror “A Tale of Two Sisters” and the noir-inflected “A Bittersweet Life”, both of which were received as critical and commercial successes. Kim is truly built a career that any director would envy. His storytelling ability is crisp, engrossing and often breathtaking, while his camera technique is as fluid as it is stylish. His latest film "The Good, the Bad, the Weird", which covers a sub-genre of Western films popularly known as “spaghetti westerns,” that was uncommon in Korean cinema, was also successful enough to spawned its own genre the 'Kimchi Western' and ranked number 2 at the Korean box office in 2008. As sleekly as a director like Kim can move around inside different genres—he can deliver tightly edited horror and action set-pieces with the best of them. And this year, we will witnessing how this favorite filmmaker sliding into dark crime thriller “I Saw the Devil” and he's brought two of the nation's biggest and most recognizable stars, Lee Byung-Hyun (A Bittersweet Life) and Choi Min-Sik (Oldboy), along for the crazy ride.

Lee, 40, has long been considered one of the most popular actors in Korea with dozens of television dramas and films under his belt. He is most famous for acting in Park Chan-wook's “Joint Security Area”, Kim's “A Bittersweet Life”, and enjoyed a particularly successful year in 2009, making his Hollywood debut in action flick "G.I. Joe" and co-starring with Josh Hartnett and Takuya Kimura in the film "I Come With The Rain". Meanwhile Choi, 48, has starred in numerous films, most notably "Shiri" (1999), "Oldboy" (2003) and "Sympathy for Lady Vengeance" (2005). Along with Song Kang-Ho (The Host, Thirst), he is one of the premiere Korean actors both domestically and on the global scene. This film is Choi's first major role since returning from a self imposed exile begun in protest over changes to the Korean screen quota system and marks the duo's first time working together. Lee and Kim, however, go back now over several films and their collaborations have always been stellar. So, the combination alone already look so great, and “I Saw the Devil” looks like it could be a good one... maybe even a lot more than that.

Kyung-chul (Choi) is a dangerous psychopath who kills for pleasure. The police have pursued him for a long time, but have been unable to catch him. One day, Joo-yeon, daughter of a retired police chief becomes his prey and she is found dead in a horrific state. Her fiance, Dae-hoon (Lee), a top secret agent, decides to track down the murderer himself. He promises himself that he will do everything in his power to take bloody vengeance against the killer, even if it means that he must become a monster himself to get this inhumane killer.

# The original Korean title “Ayeoldae” (아열대) translates as “Subtropical Night” but the film has since been rechristened as “I Saw The Devil”, an appropriate choice as it stars Choi as a sadistic serial killer and Lee as a driven lawman who turns every bit as nasty while hunting Choi down after he kills Lee's fiance.

# Kim was set to helm the Hollywood remake of French heist pic "Max et les ferrailleurs" next, but has turned his attention to "Devil" due to production delays on the U.S. pic.

# Choi Min-Sik & director Kim Ji-woon previously worked together in the 1998 black-comedy film "The Quiet Family," while Lee Byung-Hun & Kim previously worked together in “A Bittersweet Life” and the 2008 action film "The Good, The Bad, The Weird."

Release date in South Korea: 2010/08/11

Posted By: Jaccstev di // movie-cafe.com

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Official Website: tiff.net

July 28, 2010

Korean pics "Housemaid," "Devil" invited to Toronto film fest

Reporter: Lucia Hong Editor: Jessica Kim

Korean films "The Housemaid" and "I Saw the Devil" have been invited to this year's Toronto International Film Festival (TIFF) in Canada, according to the official website of the fest on Wednesday.

"Housemaid," about a young maid hired to work for a wealthy family, will be screened for the first time ever in North America under the Galas program of the fest. The category recognizes films that are noteworthy of winning awards and are making their world or North American premiere.

The officials from the festival explained that "Housemaid" takes a satirical look on class structure, comparing the picture to "La ceremonie" by famed French director Claude Chabrol.

Miro Vision, which handles the overseas distribution for "Housemaid," had recently closed a US distribution deal with IFC Films to release the film overseas sometime around the end of this year or early next year.

The pic, a remake of a 1960s classic erotic thriller by late director Kim Ki-young, premiered at the 63rd Cannes Film Festival in May, where it also swept up six deals at its film market.

The modern adaptation helmed by Im Sang-soo, stars 2007 Cannes best actress award-winner Jeon Do-youn, Lee Jung-jae and veteran actress Yoon Yeo-jung.

Korean thriller "I Saw the Devil" has been invited to the Canadian film event under the Special Presentations segment, where major films from famous directors are shown.

"Devil" is helmed by noted filmmaker Kim Ji-woon, whose previous movies include "A Bittersweet Life" (2005) and "The Good, The Bad, The Weird" (2008), and stars top Korean actors Lee Byung-hun and Choi Min-sik.

The action thriller pic, which will premiere in local theaters on August 11, is about a secret agent (Lee) who plots revenge against a serial killer (Choi) who killed his fiancee.

The Toronto International Film Festival, a ten day event, is a non-competitive public film festival to run from September 9 to 19 this year.

Reporter: Lucia Hong luciahong @ Editor: Jessica Kim jesskim @ <Ⓒ 10Asia All rights reserved> 10Asia

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Saturday, July 24, 2010

A South Korean filmmaker and screenwriter, Kim Ji-Woon

Posted by Bora at 6:19 PM genrecinemaeastasia.com

Background

Kim Ji-Woon was born in Seoul in July 6, 1964. He was majoring in film studies in Seoul Art School but he dropped out the school because he wanted to focus on practical experience rather than theories. He wrote many scripts including "Hot sea" in 1994, "Movie, Movie" in 1995 and played as an actor in "A girl and gangsters". Since he was a child, he was interested in European old movies. In 1998, he won the best script writer in “Cine 21 Scenario competition” with his script named “Quiet Family”. He became the director of this movie and successfully debuted Korean Film Industry.

After directing the movie, “Quiet Family (1998)”, he continued his movie career with “The Fool King (2000)”. In the mid 2000, he made a short film with another Korean director, Ryu Song-Wan. Ryu Song-Wan made “Dachimawali (2008)” and Kim Jee-Woon made “Coming Out”. In 2002, he made “Memories” which was one of the three short stories in a film “Three”. After that, he made “A Tale of Two Sisters (2003)”, “A Bittersweet Life (2005)”, “The Good, the Bad, the Weird (2008)”. Since all the movies he made were successful from critiques and public responses, he became one of the famous South Korean directors. This year he is directing “I saw a devil (2010)”.

His Style

Kim Ji-woon’s movies never stay in one genre. In the movie, “Quiet Family” was recognized as Korean “The Addams Family” and was a Horror Comedy. “The Fool King (2000)” was categorized as sport Comedy Drama. “A Tale of Two Sisters (2003)” was a Horror movie. “A Bittersweet Life (2005)” was a Gangster Noir which was serious and heavy, “The Good, the Bad, the Weird (2008)” was a Manju Western movie. Even though he challenged the varieties of genres, he said that he would not really make a film that is categorized as Romantic, Comedy which was far from his interest. In his movies, he is known for using deep, showy color in his movies. For example, the country house in “A Tale of Two Sisters (2003)”, a luxury sky lounge in “A Bittersweet Life (2005)”, and flea markets in “The Good, the Bad, the Weird (2008)” are all of the main settings of his movies and very remarkable with certain styles and colors.

Source and more at genrecinemaeastasia.com

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Thanks to ylin at EverythingLBH for this cool photo highlight

LBH with Director KJW at the filming set of 'I Saw the Devil'

August 3, 2010

Netizens picked 'A Bittersweet Life' as Kim Ji Woon's best work

In prelude to 'I Saw the Devil' movie release on August 11, an online-survey conducted throughout 5-26 of July had chosen ' A Bittersweet Life' as the best work by Dir. Kim Ji Woon.

1. A Bittersweet Life 46%

2. The Good, The Bad, The Weird 29%

3. A Tale of Two Sisters 13%

The top two movies were those highlighting the combination of LBH-KJW which really showed the preference of the fans and the upcoming movie 'I Saw the Devil' with method actor Choi Min Sik have really increased the anticipation for another masterpiece to enjoy.

Source: news.nate.com

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August 9, 2010

'Devil's extraordinary action was directed by instinct,' Kim Ji Woon

Director Kim Ji Woon is once again presentating stylish action in his own unique way. If one is familiar with Dir. Kim's past work, you will not miss his distinctive and trademark movie-making style of showcasing engaging personalities and characters, sensuous visual fidelity, reinterpretation of the genre, sensible yet stylish elements that co-exist with the stunning action choreography. From the 2005 critically-acclaimed 'A Bittersweet Life' to the 2008 blockbuster 'The Good, The Bad, The Weird' and the soon to be released 'I Saw the Devil' Director Kim Ji Woon directed the visually-spectacular action and maximizing the main character's personality with emotional intensity, clearly drawing the powerful expression all through the thriller feature.

Source: news.nate.com 1 l 2

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August 9, 2010

'I Saw the Devil' directed by a real 'demon' Kim Ji Woon

Source: http://news.nate.com/view/20100809n12715

The Dev

l You Know

The Korean press is reporting I SAW THE DEVIL just passed the KMRB. It will appear in theaters in a couple of days with an 18 rating. It took three tries to get passed by the KMRB, but no one I knew related to the movie seemed worried at all. From what people tell me, this was Kim Jee-woon’s “last hurrah” before going to Hollywood, so he just wanted to have a good time and make a crazy film that he would like. Hopefully I will see it Thursday, and will report what I think asap.

Previous related entry

Will We See the Devil

Credits & thanks to

Mark Russell

Thanks to the highlight at PlanetBH0712, original captures from movieweek.co.kr 1 l 2 l 3 l 4

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August 11, 2010

KIM JI-WOON'S I SAW THE DEVIL CLEARED FOR RELEASE IN KOREA

by Todd Brown, August 11, 2010 9:18 AM

It was just a few days ago that we reported on the ratings problems facing Kim Ji-Woon's I Saw The Devil, the much anticipated revenge picture starring Oldboy's Choi Min-Sik and The Good The Bad And The Weird's Lee Byung-Hun having effectively been banned from release in Korea by being given a rating that only allowed release into a category of theater that doesn't actually exist.

Well, details are sparse so far but Variety's Sun Hee Han has just tweeted that whatever last minute changes the producers made were enough to get the job done and, after twice being refused a releasable rating, the film has now been cleared for release with a 'teen restricted' rating, the highest allowed in Korea's cinema chains. There is no mention yet of what was changed or removed to get this rating.

Source: twitchfilm.net

August 11, 2010

I SAW THE DEVIL: Media Preview & Press Conference

DIRECTOR KIM JI WOON

Captures from nate.com, credits as stated on the images