Director Park Chan-Wook 박찬욱 [“Decision to Leave”]

[rubie]

May 19, 2016

Park Chan-wook's new film sold to largest number of countries of all Korean films

CANNES, France, May 19 (Yonhap) -- Director Park Chan-wook's erotic thriller "The Handmaiden" has broken new ground as it has been sold to the largest number of foreign countries for a Korean film, its distributor CJ E&M said Thursday.

Premiered at the 69th Cannes Film Festival, the film has been sold to distributors based in 175 countries, according to the local media and entertainment company.

It surpassed the previous record of 167 set by Bong Joon-ho's English-debuting film "Snowpiercer" in 2013.

The film had been pre-sold to 120 countries before it came to Cannes.

The company says the achievement is meaningful considering the new movie's limitation as a Korean-language film with an all Korean cast.

The latest film from the "Oldboy" director, set in colonial Korea and Japan in the 1930s, stars Kim Min-hee, Cho Jin-woong, Ha Jung-woo and Kim Tae-ri. It tells the story of a young maid hired by a con man to help seduce a wealthy heiress, only to fall in love with her.

In this Associated Press photo, Director Park Chan-Wook (C) poses for photographers with actors Ha Jung-woo, Kim Tae-ri, Kim Min-hee, and Cho Jing-woong, from left, at the 69th Cannes Film Festival, in Cannes, France, on May 14, 2016. (Yonhap)

[rubie]

May 20, 2016

Park Chan-wook's Latest Film Sets Distribution Milestone for Korean Films

Source: The Chosun Ilbo

Award-winning filmmaker Park Chan-wook's latest film, "The Handmaiden," is drawing widespread attention as the film has been sold for distribution to some 175 countries following its screening at this year's Cannes Film Festival. 

During the film market on the sidelines of the ongoing festival, Romania recently became the 175th country to purchase the film for distribution, according to CJ E&M, the film's distributor. 

The film had been presold to 120 countries before it came to Cannes. 

"The Handmaiden" broke the previous record held by Bong Joon-ho's "Snowpiercer," which was distributed to 167 countries.

[rubie]

May 23, 2016

'The Handmaiden' snags export deals despite missing out at Cannes

SEOUL, May 23 (Yonhap) -- Despite missing out on awards at the Cannes Film Festival, the South Korean film "The Handmaiden" returned home fully loaded with export deals, a local film distributor confirmed Monday.

The erotic thriller by award-winning director Park Chan-wook, best known for "Oldboy" (2003), will premiere in Taiwan on June 24 and in France on Oct. 5, according to CJ Entertainment.

The poster of the South Korean drama thriller "The Handmaiden" (Yonhap)

In addition, the film distributor expects to see "The Handmaiden" launch in Australia, Russia, Hong Kong and New Zealand between June and August. The film is anticipated to run in the United States around the September-October period.

The news came after "The Handmaiden" attracted deals from film marketers of 176 countries during the May 11-22 festival. It's an all-time high for a South Korean film, surpassing "Snowpiercer" (2013), a fantasy film by Bong Joon-ho, another globally recognized director, which was sold in 167 countries.

By region, "The Handmaiden" was particularly acclaimed among European buyers, according to CJ Entertainment.

"The Handmaiden" was one of 21 films selected for competition in Cannes but walked away empty-handed.

Starring Kim Min-hee, Kim Tae-ri and Ha Jung-woo, "The Handmaiden" depicts a love story between different social classes, fully tainted with deceit and conspiracy over money. The film is inspired by Sarah Waters' Victorian lesbian crime novel "Fingersmith."

"The Handmaiden" is slated to launch at home on June 1.

From L: Actors Cho Jin-woong, Kim Tae-ri, director Park Chan-wook, actors Kim Min-hee and Ha Jung-woo attend the screening of "The Handmaiden" in the 69th round of the Cannes Film Festival on May 14, 2016. (Yonhap)

jwc@yna.co.kr

[rubie]

May 24, 2016

'The Handmaiden' art director wins independent award at Cannes

SEOUL, May 24 (Yonhap) -- The art director for the South Korean movie "The Handmaiden" has won an independent award at the 69th Cannes Film Festival, a film distributor here said Tuesday.

Ryu Seong-hie, the art director for the thriller, captured the Vulcan Award of the Technical Artist, CJ Entertainment said. Ryu is the first South Korean winner of the Vulcan Award.

Directed by Park Chan-wook, "The Handmaiden" was one of 21 films selected for competition but was shut out of awards there.

Created in 2003, the Vulcan Award is presented by a special jury, appointed by the Superior Technical Commission of Image and Sound.

Starring Kim Min-hee, Kim Tae-ri and Ha Jung-woo, "The Handmaiden" depicts a love story between two completely different social classes, fully tainted with deceit and lust over wealth. The film is inspired by Sarah Waters' Victorian lesbian crime novel "Fingersmith."

Although the film did not sweep awards at the Cannes festival, it brought home lucrative export deals from film marketers in 176 countries. This is an all-time high for a South Korean film, surpassing "Snowpiercer" (2013), a Bong Joon-ho fantasy film sold in 167 countries.

"The Handmaiden" will premiere at home on June 1.

jwc@yna.co.kr

Source: INSIDE Korea JoongAng Daily

Although Park Chan-wook’s “The Handmaiden” didn’t win the top prize, it was not a total loss for him nor the two other Korean films that got invited to the festival’s non-competitive sections. 

The lesbian thriller, which earned Park his third invitation to the prestigious film event, sold its distribution rights to 56 additional countries at Cannes, setting the new record for a Korean film by selling the film’s rights to a total of 176 countries. Previously, the record was set by Bong Joon-ho’s 2013 dystopian thriller “Snowpiercer,” which had its rights sold to 167 countries. 

“After the film had its official screening at Cannes on May 14, there were explosive numbers of requests from foreign buyers,” said an official from CJ E&M, the film’s domestic distributor. 

“Those who have already purchased the film’s distribution rights solely based on its seven-minute trailer were also satisfied after watching the whole film,” he added. 

After its Korean wide release on June 1, “The Handmaiden” will take off on a world tour, starting with Taiwan on June 24, followed by France in October. 

[rubie]

May 26, 2016

[Herald Review] ‘The Handmaiden’ is as tender as it is bold

The film is charged with sexual tension and flowery visuals, but ultimately audaciously displays female liberation

Park Chan-wook’s “The Handmaiden” is a tale of two women who seek to be free -- one from poverty, the other from confinement, and both from control. The costumes and set design may seem excessive, but the frills provide an enticing backdrop for that journey for salvation and serve to create an idealized universe.

Orphaned heiress Lady Hideko (Kim Min-hee) is living under the guardianship of her uncle Kouzuki (Cho Jin-woong). Count Fujiwara, a swindler posing as a nobleman (Ha Jung-woo) seeks to woo her and take her fortune. He hires Sook-hee (Kim Tae-ri), a poor pickpocket and also an orphan, to serve as a maid to the heiress and to help him win her over. 

Sook-hee is sent to the manor where Hideko lives with her uncle. The place is an architectural blend of English and Japanese elements. The two begin to explore each other’s company. Sook-hee feels protective of Hideko’s childlike innocence and porcelain beauty. Hideko seeks comfort in the warmth and earthiness of her new maid, who provides an escape from the lady’s usual routine of reading and reciting lessons. 

Count Fujiwara makes occasional visits, posing as an art teacher. Hideko’s heart begins fluttering. Sook-hee tries to persuade the lady that she has fallen in love with the count, but Hideko is not so sure.

The film grabbed attention both at the Cannes Film Festival this month and at home for explicit lesbian sex scenes. Some suggested that Park’s depiction of sex between the two women is based on misogynistic fantasies, but what they failed to mention is how these scenes are as tender as they are explicit, focused more on conversation and less on an unleashing of desire. The heroines’ intertwining bodies illustrate an intricacy and an intimacy that otherwise might have been lifeless. 

“Beauty is important, that’s the basis,” said Park at a press conference after the film’s first local screening in Seoul Wednesday. “But beyond that, I wanted to create a format where the two (women) are conversing with each other ... in a connection that is not an outburst of desire but one that shares ... and considers the other person.”

That connection is the core of the film -- a liberating bond with no gender hierarchy, a human relationship in which even the term “lesbian” loses meaning. If anything, it is the male characters who are caricatured. They are rendered blind to all else -- even money -- by their overwhelming sexual desire, existing only to highlight the intimacy of Sook-hee and Hideko’s journey.

The bulk of the acting is carried by the female actresses as well. Kim Tae-ri exudes an earthiness that is bold and fresh. Moon So-ri, who stars as Hideko’s aunt, adds zest to the film with her brief but electric appearance. 

Even the way Park plays with the speed of the three-part story resembles the act of love, starting out slowly and gripped by tension, and then accelerating to a climactic frenzy.

The film will open in local theaters on June 1.

By Rumy Doo (doo@heraldcorp.com)

May 25, 2016

Park Chan Wook Is Back with ‘The Handmaiden’

Source: BNTNews

[by Woorim Ahn, photo by Jo Hee Sun] Movie ‘The Handmaiden’ held a press showing session at CGV Wangsimni in Sungdong-gu, Seoul on May 25. 

‘The Handmaiden’ is about a conglomerate lady in 1930s, an earl targeting the lady’s money, a maid who got a deal from the earl and the lady’s guardian. Kim Min Hee, Ha Jung Woo, Cho Jin Woong, Kim Tae Ri and others attended to grace the event. 

Meanwhile, ‘The Handmaiden’ will premiere on June 1. (photo by bntnews DB)

[rubie]

May 27, 2016

(Movie Review) 'The Handmaiden' is stunningly enchanting but lacks complexity

By Shim Sun-ah

SEOUL, May 27 (Yonhap) -- South Korea's art-thriller master Park Chan-wook has always been unafraid to tackle taboo subjects, and he turned his eyes to homosexuality this time.

Park's new film, "The Handmaiden," is stunningly beautiful, enchanting and tasteful but, unfortunately, lacks complexity.

Despite teasing the audience with thriller elements, this is not a typical thriller. Instead, it is an erotically charged film focusing on two women experiencing sex together.

As the female protagonists enter into an affair, it is clear that there is an element missing, the element of the audience's emotional attachment to the characters. The dialogue remained mostly superficial, allowing the audience little insight into the depth of each character. Instead, the film hastily develops the relationship between the two women from the limited exposition that vaguely depicts their feelings toward each other.

Loosely based on Sarah Waters' award-winning novel "Fingersmith," the film relocated the Victorian Britain to 1930s colonial Korea.

It begins when a con man who calls himself Count Fujiwara (Ha Jung-woo) employs the help of Sook-hee (Kim Tae-ri), a lowly pickpocket, to swindle a wealthy, lonely heiress named Hideko (Kim Min-hee). The woman lives in a cavernous mansion under strict protection from her uncle after losing her parents in her early years.

The plan is for Sook-hee to become Hideko's maid and slowly convince her to marry Fujiwara so that he may elope with her and subsequently make away with her fortune. The scheme, however, doesn't go as planned and hidden truths slowly rise to the surface. The story then takes a series of unexpected turns.

The film provides viewers the fun of growingly finding the truth behind what happened to the three people through its story split into three sections and unfolds from multiple points of view.

What makes it stand out from all other films is its lavish-looking artistic elements, ranging from the secluded mansion's interior decorated in hybrid British-Japanese style and Hideko's beautiful costumes. For the work, the film's art director Ryu Seong-hie won the independent Vulcan Award of the Technical Artist at the 69th Cannes Film Festival. Ryu became the first Korean winner of the award.

The movie's eroticism never feels cheap. For some audiences not familiar with Park's films, however, it can be a grueling movie to watch for its sexually deviant characters and some extremely violent scenes.

The film is set to open in local theaters on Wednesday.

sshim@yna.co.kr

[rubie]

May 27, 2016

Review: Female leads stand out in ‘The Handmaiden’
Despite male gaze debate, women take center stage in twisted, thrilling love story

Source: INSIDE Korea JoongAng Daily

Top and above left: Still cuts from Park Chan-wook’s lesbian thriller “The Handmaiden.” Above right: From left, Park and four lead actors - Ha Jung-woo, Kim Min-hee, Kim Tae-ri and Cho Jin-woong - answer questions during a press junket in Seoul on Wednesday. [CJ ENTERTAINMENT, NEWSIS]

“The Handmaiden” is a culmination of visual ambitions that Park Chan-wook has accumulated over the 20 or so years of his illustrious career. 

So much so that what comes in between the countless number of picturesque moments degenerates into mere means of bridging one of those scenes to another. 

Korean auteur Park returned from the Cannes Film Festival to present his latest much-talked about film “The Handmaiden” to the Korean press on Wednesday. 

“I wasn’t able to win at Cannes. … But this is by far my most favorite film I’ve made so far,” the 53-year-old said. 

“As I built on my experience with film, I started to have hope of making a film that would last long in people’s memory. … Enjoying the film at the same time is important, but planting things that people would notice on their second viewing was also my focal point,” he said.

Living up to the buzz it created at the French film festival, the film - which is based on award-winning novelist Sarah Waters’ lesbian thriller “Fingersmith” - is filled with visual aesthetics, steamy eroticism and flawless performances, creating one fine, polished movie. 

The film is divided into three parts, starting with the story of Sook-hee (Kim Tae-ri), a money-hungry pickpocket who is tasked with luring Lady Hideko (Kim Min-hee) into marrying Count Fujiwara (Ha Jung-woo) in return for a share of Hideko’s future inherited fortune. 

Standing behind the innocent Hideko is her aged yet mysterious guardian (Cho Jin-woong), who seems interested in nothing other than spending his time in his extravagant quasi-Japanese, quasi-Western-style library. 

The second part takes the point of view of Lady Hideko followed by that of Count Fujiwara. There are gaps in time between each part, so the three parts do not exactly overlap. There is extra fun in noticing details that were missed in previous parts. 

Dazzling visuals

As Park described the grand library of the lady’s guardian as the fifth character of his movie, the artistic backdrops of the film play a pivotal role in determining its atmosphere. 

The exterior of the library is decorated with Western-style bookshelves, while the inside shifts to traditional Japanese-style flooring called tatami, where visitors have to take off their shoes and sit on the floor. 

What is even more eye-catching, especially for those interested in design and fashion, is Lady Hideko’s Victorian-era room filled with dark-colored antique furniture and adorned with patterned upholstery, curtains and wallpaper. Each closet is filled clothes and shoes, both Japanese-style kimonos and Western-style dresses, as well as accessories including over-the-top hats and statement earrings. 

When Kim Min-hee wears each of her 25 costumes, with her makeup applied to perfection, each of her scenes becomes a work of art itself. 

The versatile music score in which the main theme is grand orchestral pieces playing along with quirky Korean folk songs from the ’70s adds an exotic yet attractive vibe to the film. 

Male gaze controversy

Whenever there is a lesbian film that involves sex scenes, it cannot escape being surrounded in controversy over the male gaze.

“Blue is the Warmest Color,” a 2003 Palme d’Or winner, was under fire for including an excessive amount of nudity. “Carol” (2015), which decided not to include any explicit bedroom scenes, barely avoided criticism. 

Of course, considering Park’s style of pushing everything to the extreme, there was no chance that such scenes would have been omitted.

“The Handmaiden” landed directly in the center of criticism over portraying non-heterosexual relationships with too much sexuality. The provocative bedroom scenes involving the two female characters, which appear a couple of times, expose the maximum amount of skin and feature a very peculiar set of tools. 

For that reason, the film needed to be scrutinized for unleashing males’ misogynist fantasies. Park as well as the two Kims did not hesitate to throw themselves into the scenes. 

But what should be considered more important is whether the female characters stopped at being exploited to fulfill males’ sensual fantasies. In fact, it doesn’t end like that in “The Handmaiden.”

From start to finish, despite the changing perspectives, it is the women who take central actions in moving the whole plot.

Male characters, especially Count Fujiwara’s short-sighted thinking and ludicrous behavior, seem as if they were planted in the film to generate laughs and nothing more, while the female leads do the serious and meaningful stuff. 

When asked how he feels about negative responses to his film, Park didn’t say much but said he wants to ask critics which specific scenes are perceived as “male-gazed.”

Newfound talent

Yet another revelation in the film is the daring performance by newcomer Kim Tae-ri, who doesn’t fall short of her counterparts in terms of grabbing audiences’ attention on screen. 

In contrast to Lady Hideko, who possesses more of a complex mind and mysterious background, Sook-hee’s plays her cards straight. And that kind of bold gestures and language comes out all too naturally from Kim. 

Maybe it is because of the characters’ styles, but at one point Kim Min-hee’s acting seem emotionless - not in an intentional, smart way but more in a dull way - next to Kim Tae-ri, who nails every line with the right emotion and tone. 

Director Park said that her boldness that wouldn’t be overwhelmed by her towering co-stars was what caught his eye during auditions. Both in the movie as well as during press events, the 26-year-old rookie actress stole the spotlight with her infectious personality, which all of us hope will remain untainted as she rises to fame.

“The Handmaiden” will be released nationwide June 1.

BY JIN EUN-SOO [jin.eunsoo@joongang.co.kr]

 

[rubie]

May 27, 2016

Director Park Chan Wook Questions Use Of “Actress” + Addresses Lack of Strong Female Roles

Source: Soompi by kminjungee 

Returning to the film world with his latest film, “The Handmaiden,” acclaimed director Park Chan Wook argues strongly for better female representation in the industry.

On May 27, the director explains how he holds women in high regard, and believes men are not superior to women during his appearance on YTN’s “News Tower.”

Park Chan Wook is a highly respected director who is known for his thought-provoking characters. In previous movies such as “Joint Security Area,” “Oldboy,” “I’m a Cyborg, But That’s Okay,” “Thirst,” and “Lady Vengeance,” his female characters are represented as important individual characters, as opposed to just being “assistants” or “accessories” to the male characters.

The same can be said for his latest film, “The Handmaiden,” which also focuses on two strong women in particular. In fact, the main male characters are portrayed in an almost pitiful light, as opposed to a charismatic one.

The director explains, “Maybe it’s because I’m raising a daughter, or because I personally believe that my wife is stronger than I, but I have a lot of interest in female characters. Worldwide, there is a significant lack of strong female characters. I want to see women who have their own goals and desires, and strong wills, not just polite and “angelic” characters. However, I’ve realized there just isn’t much representation of these kinds of women in this industry.”

While complimenting actress Kim Tae Ri, who plays one of the lead female roles in his latest movie, “The Handmaiden,” Park Chan Wook also criticizes the use of “actress” to differentiate between genders, instead of using “actor” as a collective term. He points out that male actors are just referred to as “actors,” but females are often referred to as “actresses” or female actors, and always have their gender define them first. He argues that Kim Tae Ri transcends her title as an “actress,” and could be instead regarded as an “artist” for her talents in acting.

His words point to a bigger issue that seems to permeate many aspects of Korean society. In most occupations, females always have “female” attached to their job titles, such as “female doctors,” “female politicians,” or “female directors” (specifically in Korean). There seems to be an underlying bias that women must be identified through their gender first, but men don’t necessarily need the same treatment.

In light of the recent Gangnam Station homicide, where a woman was unnecessarily killed, the director’s arguments strike a chord with many readers.

What do you think about Park Chan Wook’s statements?

Source (1)

[irilight]

Thank you very much @rubie, for all that you provide here, on this thread.
Feasting on all this news about Park Chan-Wook. Who knows when will his next film come out.

I am disappointed that the film did not win an award, but I am pleased that it had received so many purchases, and even broke the record of countries that bought Korean films.

Below is an interview with Director Park Chan-Wook by Hollywood Reporter. I have to admit I disagree on the opening statement that Stalker was a disappointment. I thought it far surpassed most American films, but I do hear from friends they felt it was not as good as the director's Korean films.

Park Chan-Wook Talks 'The Handmaiden', Homosexuality Onscreen and Korean Films' Specific Appeal (Q&A)

Park Chan-Wook

After making his English-language debut with the disappointing 'Stoker' in 2013, the South Korean auteur is returning to his boundary-pushing roots with the erotic thriller.

It's been four years since a South Korean movie has played in Cannes competition lineup, and it’s perhaps no surprise that the film, an erotic thriller called The Handmaiden, is directed by South Korea’s most notorious modern filmmaker, Park Chan-wook.

Park has become the virtual face of contemporary South Korean cinema ever since his 2003 Cannes Grand Prix-winning Oldboy propelled him to international prominence, carving out a reputation for onscreen extremism (remember that live octopus?) at the same time. Based on Sarah Waters’ 2002 novel Fingersmith, Park’s latest relocates the book from Victorian England to colonial Korea to tell the sexually charged story of a servant girl (newcomer Kim Tae-ri) who is hired by a conman to help win the trust of a wealthy heiress, only to watch helplessly as the two women enter into a passionate affair.

The 52-year-old, who produced Bong Joon-ho’s blockbuster Snowpiercer, talked to THR about portraying sexuality onscreen, why he’s a "conservative" director and what has changed since making his Hollywood debut with 2013’s Stoker.

How do you feel about returning to Cannes?

The Palais has one of the most wonderful screens, so I am really looking forward to watching my film there. I like to take photographs, which I like to think of as a separate [creative process] from my work as a filmmaker, and I plan to travel around Southern France and take pictures.

Is it fair to say that you see parallels between the Japanese colonial period (1910-1945), where you set the story of The Handmaiden, and Victorian England, the setting of the novel?

There were two vital conditions that I believed were necessary for adapting the novel. The first was the existence of a class system and the other was the Western institution of the mental hospital. It would have been pointless to remake the story if I lost one or the other, so my only choice was the Japanese colonial era, when Korea was undergoing modernization and Westernization.

Newcomer Kim Tae-ri (second from left) stars in 'The Handmaiden' as a young maid who develops an intimate relationship with her employer.

Japanese colonialism remains a sensitive issue in Korea, and it was only recently that filmmakers began to fully — and freely — explore the entertainment value of stories set during that time.

It’s important for films to explore the independence movement and anti-colonialism. But unlike many Korean dramas, which tend to automatically depict the Japanese as villains, my characters aren’t good or evil just by virtue of being Korean or Japanese. My story is about individual lives set during a particular era. I did not try to isolate the story by removing it from historical events, nor did I allow history to overpower the narrative. I felt it was important to portray the changing spirit of the time, however, such as class conflicts, women’s issues, as well medical issues and how mental illnesses were feared and led to prison-like confinement.

Among women’s issues you explore is lesbianism. Why?

From the larger scheme of things I am a genre filmmaker, albeit one of slightly altered genres. Even though I explore such a genre-specific topic as homosexuality, it was not my intention to make a human rights film showing individuals overcoming discrimination. Similar to how I wanted to focus on individuals living through the colonial era rather than a story about the colonial era itself, I always wanted to create a movie that portrayed [homosexual romance] as something natural, as just a normal part of life.

You examine the theme of vengeance once again. But ultimately you seem to be more interested in motivation and human desire than vengeance itself.

Yes. There is certainly a recurring topic. But like you said, vengeance itself is not the main subject matter. From the larger scheme of things, my films are mostly thrillers that feature the psychological motivations for vengeance.

There were originally talks about making the film in 3D. The psychological-thriller elements of it could have worked well.

There were talks of 3D during the initial stages of the project, but it became a budget issue. I sometimes wonder even now what it would have been like in 3D. The first part of the story is told from the point of view of the protagonist, who then becomes the subject of observation in the second half. There are elements of voyeurism and observing others from behind doors and closets, and I thought it would be interesting to utilize 3D visuals in a hushed manner. Hitchcock already did this in Dial M for Murder, but the technology at the time made it a little shoddy. I thought it would workwell using modern-day technology.

Would you like to work in 3D one day?

Definitely one day. People are saying 3D is going out of style, but that makes me want to do it all the more. I would like to do it when no one else is.

You have a reputation as a pioneer when it comes to digital technology. But then you went back to analogue film for Thirst. What kind of visuals did you want to achieve in The Handmaiden?

I am a conservative who finds more beauty in the look of analogue films. In Korea, however, it is no longer possible [since all cinemas have become digitized]. To achieve the analogue look, I got a 1970s anamorphic CinemaScope lens by Hawk, and I’m quite satisfied.

Digital movies seem to lack the depth of analogue films.

Digital movies definitely lack polish. I wanted to re-create the color palette of old Technicolor movies, which I think Tarantino would have done already if he could, but it’s impossible unless you use the film technology from that time. Even for my photography, it was only recently that I went digital. Nowadays I take digital photos and then edit them on my iPad using simple apps. I discovered the fun and convenience of this process. I took Leica monochrome photos on the set of The Handmaiden, which I plan to publish as a book.

This is your first Korean film since making your Hollywood debut with Stoker. What’s changed after your experience in the U.S.?

I cut down the number of takes after seeing how speedy productions were in Hollywood. We took more than 100 shots for Thirst, but for The Handmaiden, I was able to actually downsize to 68 from what was originally planned as 70-something. Having more shots enables you to edit on the site, hold meetings and have fun as active participants of the cooperative art that is filmmaking. But efficiency didn’t mean sacrificing all the joys of the joint creative process, and moreover it enabled us to keep safely within the budget and to honor the labor contract conditions [for cast and crew, which is a relatively new phenomenon in Korea].

Korea is one of the few countries around the world where local films outperform Hollywood imports. Why is that?

Korean society is very dynamic and is always undergoing rapid transformations. I think this is what makes Koreans so passionate and tense, and possess such intense emotions overall of rage, jealousy, etc. And so, emotions in works that Koreans produce run at an extremely high gauge, and, on top of that, are very complex.

Do you have future projects planned in Hollywood? Is the growing Chinese film market on your radar?

There have been discussions about several Hollywood projects, but I’ll have to see afterThe Handmaiden [opens in May] and start looking into some of the scripts I received. As for China, if there are good stories, then I am always willing to work. [Chinese audiences like happy endings] and my films can be happy, too

 

source: Hollywood Reporter


 

[rubie]

June 2, 2016

Park’s latest works highlight strong women
‘These days, there are only a few films where such characters appear, which made me more eager to produce such films. Furthermore, society is very patriarchal and male-centered.’

Source: INSIDE Korea JoongAng Daily

Director Park Chan-wook [STUDIO 706]

Director Park Chan-wook has set a new bar in his career with his latest film, “The Handmaiden,” which opened in Korean theaters yesterday.

When he filmed “Stoker” (2013) in Hollywood for the first time, he regarded the work as the start of a new chapter of his art form. 

Following the psychological tension he showcased in his previous films including “Thirst” (2009), in his new film Park focused on the tension between the two female characters in a more sophisticated and refined manner.

Korea in the 1930s serves as the backdrop for “The Handmaiden.” Lady Hideko, played by Kim Min-hee, and Sook-hee, played by Kim Tae-ri, share a delicate emotional connection. 

Park has created characters that are more vehement and daring than those of the original novel, “Fingersmith,” written by Sarah Waters.

“I wanted the female characters to be independent and lead the main story line,” the director explained.

Q. Which part of “Fingersmith” most intrigued you?

A. I felt that I was stabbed in the back when I learned the twist of the novel. I especially liked the two female characters. Also, I wanted to portray the character of Gentleman as a weightier role in the film. As the novel described the time period vividly, I also pursued the same in my movie. I have not done a costume drama before, so it was an interesting challenge.

Why did you choose the 1930s as the setting for the film?

The period I sought required the existence of maids and the modern facilities such as asylums. So it turned out to be 1930s. The conflict between tradition and modernity was inevitable in that era. I was able to deliberate on how the conflict has affected the mind sets of the present generation and how things have changed. 

Why did you use the same format of the novel, which uses the interchanging perspectives of the subject and the object?

I find it as the most attractive aspect in the novel. I was inspired to make such structure into the theatrical form, which rendered a whole different style. “Sympathy for Mr. Vengeance” (2002) has a similar format. I think I am very much interested in those kinds of structures. If the same incident is told from another viewpoint, the unseen stories come up and hidden meanings are uncovered. I wanted to make it a 3-D movie, but due to lack of budget, I had to give up on that plan. For this film, I prepared each part in different shots by varying the camera angles, movements and so on. Meticulous work was required for these differing shots.

What were the elements in the novel that you thought necessary to include in the film?

The changing perspectives, the first twist in the plot and the relationship between the two women. These were the essential parts that must be put on screen. In addition, the scene where the maid uses a silver thimble and grinds the teeth of the lady was necessary to include, too.

How did you plan to make the film overall shocking with the additional twist, just like “Oldboy” (2003)?

“Fingersmith” is a widely read book worldwide, so I decided to make a new twist that does not exist in the novel. It reflects how I thought of the plot as progressing while reading the novel and imagining a new twist of my own. Thus, the later part of the film will surprise those who read the original text.

Which sentiment did you try to emphasize when the lady and the maid were assured of their feelings toward each other?

It is an intimate relationship like the friendship between two women. Maybe, their psychological motivation could be perceived as solidarity between sisters. Anyway, I wanted to portray more of pure love between the two.

Why did you describe the film as your most unusual yet multidimensional film?

It has a lot of dialogue and characters. Also, this is my first costume drama, and it has a happy ending with didactic morality. I had difficulty writing dialogue that was appropriate for the historical period and that was not too heavy for the viewers to understand. The archaic expressions of the era are funny and witty, but also devious, which makes it confusing for today’s generation. Hence, I had to balance the level of dialogue.

What parts did you pay attention to most when creating the setting?

First of all, the architecture has to be conspicuous on screen because it acts as an essential element in the film. The style of residence is decorated with a mixture of Western and Japanese style, with a hint of Korean traditional patterns. Second, the place has to mirror the inner aspects of characters as well as the time period. For example, since the Western-style room and the Japanese-style room are adjoined, the gestures of the characters are quite ambiguous. When the character goes into a room with Japanese-style flooring called tatami, wearing formal Western attire, he takes his shoes off. It is very humorous but it expresses the conflict produced by the inter-cultural period of the 1930s.

Is there a reason that the library of Uncle Kouzuki (Cho Jin-woong) is more glamorously decorated?

The library plays a role in the film like another character. It is the place where Kouzuki reigns and many things happen as well. Except for Sook-hee, the three main characters meet and separate in that specific space. The grand and overwhelming atmosphere of the room reflects the inner self of the uncle as well as Lady Hideko. It is the place where she has been strictly disciplined.

Isn’t Kouzuki an unconventional character considering other characters in films set in the Japanese colonial period (1910-45)?

He is not the kind of person who seeks profits by being pro-Japanese. Instead, he thinks Japan is beautiful and Korea is ugly. His tastes well match with Japanese style. Ironically, even though he despises Korea, he eats Pyongyang-style naengmyeon, or cold noodles, for a late-night meal. He possesses multiple characteristics.

How would you compare this film to music, as you are a fan of classical music?

I wrote the script with allusions to chamber music. Like the minutely organized chamber music, the dialogue is intimate but clashes and resolves again. As there are four main characters, it reminded me of Franz Peter Schubert’s pieces for string quartet. Two women characters take the role of the main violins, Count Fujiwara (Ha Jung-woo) as the viola, Kouzuki as the cello. In some scenes, the characters swap roles and take on another position and instrument. Before shooting the film, I handed out some CDs such as Johann Sebastian Bach, Wolfgang Amadeus Mozart and Robert Schumann in order to stimulate the actors’ imaginations.

Why did you select the theme of women again after your previous film, “Stoker?”

After filming “Sympathy for Lady Vengeance” (2005), I began to have interest in female characters. In “Thirst” (2009), Sang-hyun (Song Kang-ho), a devout Catholic priest, has many feminine aspects as well. I wanted to see a female character, who is independent and active, and even frightening, so probably unconsciously I created such characters for my films. These days, there are only a few films where such characters appear, which made me more eager to produce such films. Furthermore, society is very patriarchal and male-centered, which ironically made me focus more on women’s issues. I live with my wife and daughter, and such surroundings act as a stimulus for me in designing interesting female characters.

Will this film also be a popular movie for the public?

I always make my films to be entertaining movies. Sometimes when it matches with the tastes of the public, it becomes an entertaining film, but sometimes it doesn’t. But this time, I did not plan to produce the film to be merely entertaining. As a fan of the original novel, I wanted to portray my wish for the plot line when I was reading it in the film. And I hope moviegoers will feel the same.

What do you mean by saying “Stoker” was the start of a new dimension of art in your filmography?

After finishing filming “Thirst,” which took up a large part of my life, I felt like an emptied drawer. When I began to feel that I have to get into a new field, I got call from Hollywood. That is how I filmed “Stoker.” I did not have a specific direction for the film. Maybe, I could go back to my original style of dealing with guilt and redemption. 

Will your next film be the Hollywood movie?

I don’t know. It is my wish to go back and forth in between Korean film and Hollywood film. Everything does not go as you wish. The only thing that I know for sure is I do not want to become gentler as I get older. 

Left: Director Park Chan-wook works with the actors and staff on the set of “The Handmaiden.” Right: The official poster for the movie, which opened in theaters nationwide yesterday, showing the four lead actors, clockwise from bottom: Kim Min-hee, Kim Tae-ri, Cho Jin-woong and Ha Jung-woo. [CJ ENTERTAINMENT]

BY CHUNG HYUN-MOK [kim.hyangmin@joongang.co.kr]

[rubie]

June 2, 2016

‘The Handmaiden’ takes box office by storm

Award-winning filmmaker Park Chan-wook’s new film “The Handmaiden” hit the local box office and drew a record-high number of moviegoers for an “18” rating on the date of release Wednesday.

“The Handmaiden,” starring actors Ha Jung-woo and Cho Jin-woong and actresses Kim Min-hee and Kim Tae-ri, attracted 289,496 viewers Wednesday, annihilating “X Man: Apocalypse” and “The Wailing,” which drew 62,310 viewers and 44,953 viewers, respectively, according to data from Korea Film Council. 

The first-day record of “The Handmaiden” exceeds that of “Inside Men,” which drew 230,949 filmgoers, the previous record-holder among Korean movies rated for adults only, as well as that of “Lady Vengeance,” which attracted 206,653 viewers, the highest among Park’s work. 

“The Handmaiden” has been highly anticipated locally, as it was nominated for the main competition section at the prestigious 2016 Cannes Film Festival last month. 

By Son Ji-hyoung (json@heraldcorp.com)

[rubie]

June 6, 2016

Number of ‘Handmaiden’ moviegoers grows at record pace

Korean thriller “The Handmaiden” topped the 2 million viewers at an unprecedentedly fast pace for 18-rated movies since its Wednesday release.

The number of moviegoers for “The Handmaiden,” starring actors Ha Jung-woo and Cho Jin-woong and actresses Kim Min-hee and Kim Tae-ri, surpassed 2 million as of 1 p.m. on Monday, less than six full days from its release, according to data from the Korea Film Council. 

This broke the record formerly held by crime movie “Inside Men” from last year, another homegrown 18-rated flick that exceeded 2 million viewers seven days after its release.

By Son Ji-hyoung (json@heraldcorp.com)

[rubie]

June 13, 2016

'Translating subtitles is like translating poetry'
This is the last of a four-part series on the importance of translation in globalizing Korean culture. ― ED. 

By Park Jin-hai The Korea Times

Na Hong-jin's "The Wailing"

  
Park Chan-wook's "The Handmaiden"

Darcy Paquet

Darcy Paquet, an American film critic and translator who has worked on English subtitles for over 100 Korean films, says movie subtitles in English have come a long way.

"The situation now is better than, for example, the late 1990s. Some of the films I see are translated quite well. But other times you come across some that don't, which is very frustrating, because the Korean dialogue is interesting but the subtitles are not," said Paquet during a recent interview with The Korea Times.

The Massachusetts native, who has been living in Korea for nearly 20 years, has been introducing Korean films to international movie fans and working on translations of numerous award-winning Korean films.

Most recently he worked on director Park Chan-wook's "The Handmaiden" and director Na Hong-jin's "The Wailing," both of which were invited to this year's Cannes Film Festival last month.

Paquet says it's not mistakes and grammatical errors that ruin subtitles.

Taking the example of actress Kim Hye-soo's famous line in the movie "Tazza: The High Rollers," whose word-for-word English translation reads like "I'm an Ewha Womans University graduate," he says sometimes he think subtitles are too simple.

"The original dialogue is very specific, but the English subtitles were very abstract. I think abstract is usually boring. You need to try hard to put specifics into the dialogue to make it interesting," he said. "Even if many foreigners watching don't know the school, people understand this must be a prestigious university and you get more of the feeling of the original. It sounds strange if you make it very abstract and easy to understand."

He says translating subtitles is somewhere closer to translating poetry than novels.

"You have such a small space. In translating poetry you try to make it rhyme. You have such restrictions on how you can do it, and if you want to express everything, you have to be really creative on how you do it," said Paquet.

He says most people would feel frustrated translating subtitles, even more so than translating novels, because the translator has to make compromises. "If there are two ideas in the sentence, many translators just cut one idea and translate the other idea. I think what translators need to do is to become better at squeezing more information into a small amount of space," he said.

He mentioned "Manshin: Ten Thousand Spirits," a documentary about shamanism directed by Park Chan-kyong, Park Chan-wook's younger brother, which he said is the most daunting job he has done. He adds that his recent translations for "The Handmaiden" and "The Wailing" have been just as painstaking.

With Park's film "The Handmaiden," actor Ha Jung-woo speaks very quickly, he said. "There was a lot of information and the dialogue was really interesting, so we wanted to include as much as possible. We really had to struggle to just to fit everything into the space."

As for Na's film, the dialect has given him a hard time.

"I love the way actress Chun Woo-hee speaks in that final scene. Her language was very simple but very weird. It's not standard speech. It's part dialect," he says. 

"Sometimes you can do halfway. Dialect is part vocabulary, part intonation and part delivery. But, you can't write down intonation. You only use words."

The solution he came up with was to use older words people don't use so much in speech these days.

"As for dialect, you can hint at it and you can give it kind of a feeling of it, but you can't make the feeling of dialect as strong as in Korean. If you try to do that, then it comes out sounding really awkward and distracting," he explained.

Paquet says it helps to talk with directors.

"When often there are two ideas to translate it, I don't know which one is better," he said. "If the director says which one is better, it is closer to the director's intention. So I like working with directors."

With "The Handmaiden," his first work with Park, he says he went through many drafts for the subtitle translations.

"Park Chan-wook is a perfectionist in terms of film," he said, adding that they started working on it before the film was finished in anticipation of its invitation to Cannes.

"A lot of dialogue was changed at the last minute, so we had to update subtitles a lot. I sat down together with the director and looked at every dialogue line by line. We would try to come up with good solutions together."

Favorite languages of directors

Paquet added that the kind of language director Park likes is different from the language of Hong Sang-soo, another respected director he has worked with.

"You can feel the difference in Korean as well. Park's dialogue is very unusual and I think he does it on purpose. Sometimes he writes sentences in the way that people don't speak," he said. "It sounds unnatural but at the same time surprising and interesting. It's expressive. So the English ends up being similar words. It doesn't sound very natural but it sounds expressive. You have to choose between a more simple and natural feeling line of dialogue and something that is closer to the original but that feels a little bit awkward."

Although Park's movie is an adaptation from the British novel "Fingersmith" by Sarah Waters, he says he didn't use the same dialogue.

Most of the time it was better not to do exactly the same, he says because the film was different from the book.

The word "pigeon," used in the original book to symbolize the character's innocence, was changed into "lamb" in Park's movie.

"They appear on the screen in a flash and I don't think that you should make the viewers sit and think about the meaning of the word," he said.

Paquet has been running koreanfilm.org, an English-language website for Korean films, since 1999, posting reviews as well as a number of other international publications. He also teaches a cinema class at Korea University's International Summer Campus (ISC) program.

He says people around the world are still impressed by Korean movies.

"If you think about Korean cinema's place, it is very small compared to dramas and K-pop. It doesn't have that kind of popularity. The last five years have not been especially strong for Korean cinema compared to ten years and fifteen years ago. But, I think there are well-made films," he said. "From international perspectives, Korean movies don't travel very very far but only a few exceptions ― I think The Handmaiden and The Wailing both ― would probably be seen by a lot of people internationally."

Although he says Korea is full of talented movie makers, it is hard to make films in Korea ― the kind of films that could grab attention at international film festivals. Korea is high on technical skills but the business structure is a problem, he says.

"There are some issues with the system. I think it is easier to make films ― the kind of films that are successful at Cannes ― in Europe, because there is support for kind of big-budget art house films. Whereas in Korea, art house films are very low budget and it's only director Park Chan-wook and Bong Jun-ho," he said.

"Few directors have the power to make very cutting-edge films and look beautiful and cinematically very well made. If the government provided more financial support for filmmakers, like Europe does, then they could make films that would be more successful. That is the biggest thing."

jinhai@ktimes.com

[rubie]

June 20, 2016

PARK Chan-wook Publishes THE HANDMAIDEN Photo Book
More than 110 photos that PARK Took at Film Location

by HA Jung-min / KoBiz

PARK Chan-wook has published The Handmaiden Photo Book. Released on June 10th, The Handmaiden Photo Book, of which title is Agassi Gaggai (“Closer to the Lady,” in literal translation), is a collection of photos that PARK took at the film location of The Handmaiden.
 
Adapted from Fingersmith, a novel by Sarah Waters, The Handmaiden is set in the Japanese Occupation era in the 1930s, and depicts the complicated conspiracy among the three main characters: namely, Hideko (KIM Min-hee), a Japanese noble lady and heiress to a huge fortune; a fake Count (HA Jung-woo) who is after her fortune; and Sook-hee (KIM Tae-ri), a handmaiden for Hideko, secretly teamed up with the Count. This film was invited to the Competition section at Cannes Film Festival this year, and sold to 176 countries even before release. 
 
PARK took pictures in Paju in April 2013 when the film was in the planning stage; in Berlin in March 2016 where the original sound track was being recorded, and also in Goheung, Pyeongchang in Korea and Aomori in Japan where the film was shot. Among these photos, 110 or so of them have been selected by PARK himself for the photo book. You may have a look at a variety of hidden cuts that are not found in the film.

[rubie]

June 22, 2016

NIFFF to Close with PARK Chan-wook’s THE HANDMAIDEN
SEOUL STATION and THE PRIESTS also Invited to Neuchatel

by Pierce Conran / KoBiz

The Neuchatel International Fantastic Film Festival (NIFFF) in Switzerland has confirmed its lineup for its 16th edition, which will feature a trio of genre features from South Korea. PARK Chan-wook’s The Handmaiden has been booked for the festival's closing spot, while YEON Sang-ho’s Seoul Station and JANG Jae-hyun’s The Priests will play in the ‘New Cinema from Asia’ program.
 
Following its premiere in competition at the Cannes Film Festival last month, director PARK’s third invitation there, The Handmaiden opened in Korea at the beginning of June and after three weeks has become his second most successful film, accruing over 3.76 million viewers (USD 26.83 million) to date. Starring KIM Min-hee, HA Jung-woo and new star KIM Tae-ri, The Handmaiden is based on the Sarah Waters’ novel Fingersmith. The erotically-charged thriller switches out the book’s Victorian England setting for Colonial Era Korea and Japan.
 
The latest indie animation from YEON, Seoul Station chronicles a zombie breakout one evening around Korea’s main transport hub. The film is followed by the big-budget live action sequel TRAIN TO BUSAN, which debuted as a Midnight Screening at the Cannes Film Festival and will premiere in Korea on July 20th.
 
Adapted from his own shot 12th Assistant Deacon (2014), JANG’s The Priests is an exorcism thriller featuring GANG Dong-won and KIM Yun-seok which became a significant hit in Korea last year, accruing 5.44 million admissions (USD 36.65 million).

[rubie]

June 26, 2016

The Handmaiden’ pulls in 4 million

Award-winning director Park Chan-wook’s “The Handmaiden” has attracted more than 4 million viewers so far.

The film, which opened in local theaters on June 1, has attracted 4,005,806 moviegoers by Saturday, according to the Korean Film Council on Sunday.

It is currently the best performing 19-rated film this year, having surpassed the record set by “Deadpool,” an American superhero film that opened in February and attracted more than 3.2 million moviegoers.

“The Handmaiden” topped the box office on its release date, and attracted 1 million moviegoers within the first four days. Within 12 days of its release, the erotic thriller had attracted 2 million moviegoers.

Apparently, the recent controversy surrounding an affair between actress Kim Min-hee, who plays the Japanese heiress Hideko, and award-winning film director Hong Sang-soo, 56, married with one daughter, did not dampen the film’s performance at the box office.

Set against the backdrop of Korea and Japan during the Japanese colonial era, the film centers on the conspiracy of a count who hires a pickpocket to serve as the young Japanese heiress’ handmaiden in order to get his hands on her inheritance.

It was screened at the 69th Cannes International Film Festival, which ended on May 22.

By Jung Eun-jin (jej2403@heraldcorp.com)

[rubie]

June 30, 2016

Actor Lee Byung-hun, 3 other Koreans named new Academy members

LOS ANGELES, June 29 (Yonhap) -- The Academy of Motion Picture Arts and Sciences (AMPAS) that gives out the Academy Awards has appointed four Koreans who represent the country's film community, including actor Lee Byung-hun, as its new members, according to its official website on Wednesday.

Lee, best known to Western viewers for his roles in Hollywood films "Terminator Genisys" and "G.I. Joe: The Rise of Cobra," filmmakers Park Chan-wook of "Oldboy" and "Stoker" and Lee Chang-dong of "Poetry" and "Oasis" were among the 683 people invited this year to be new members of the Academy. The list also included Kim So-yong of "For Ellen."

This marks the second year that Korean film industry figures gained Academy membership, a move that shows the status of the Korean film industry on the global stage.

Last year, directors Im Kwon-taek and Bong Joon-ho, actors Choi Min-sik and Song Kang-ho, and Walt Disney's top animator Kim Sang-jin became members.

Among the new Korean-American members are Jhun Yong-duk, a DreamWorks' cinematographer, actor Daniel Dae Kim who appeared in the American TV series "Lost" and the Hollywood film producer Roy Lee.

From left: Korean filmmakers Park Chan-wook, Lee Chang-dong and Kim So-yong (Yonhap)

Actor Lee Byung-hun (Yonhap)

[rubie]

July 1, 2016

Lee Byung-hun, Park Chan-wook to Vote on Oscars

Source: The Chosun Ilbo

Actor Lee Byung-hun, star directors Park Chan-wook and Lee Chang-dong, and DreamWorks cinematographer Jhun Yong-duk were inducted into the U.S. Academy of Motion Picture Arts and Sciences on Wednesday. 

They join a growing roster of Korean filmmakers in the ranks of the Academy, which awards the Oscars. Last year directors Im Kwon-taek and Bong Joon-ho, actors Choi Min-sik and Song Kang-ho and animator Kim Sang-jin joined the illustrious ranks alongside Hollywood superstars. 

Candidates for membership are recommended by two members and screened by the Academy's board of governors, and members have voting rights in the Academy Awards. 

The Academy has about 6,000 members. Among the 683 new entrants this year, women accounted for 46 percent and non-white people for 41 percent. 

Among the stars who joined this year were Emma Watson, best known as Hermione in the Harry Potter series, John Boyega and Idris Elba. 

Two Korean Americans were also among new entrants, independent movie director Kim So-yong and Daniel Dae Kim, who appeared in the hit series "Lost." 

[irilight]

@rubie thank you for all you provide here....

Hoping you get well soon, and back on your feet. 

Park Chan Wook (director of The Handmaiden) to appear as cameo in tvN's

 

source

 

[rubie]

On 7/26/2016 at 3:10 AM, irilight said:

@rubie thank you for all you provide here....

Hoping you get well soon, and back on your feet. 

 

Thank you @irilight for making the thread less lonely, too. Always appreciate a good company here at soompi. 

July 12, 2016

AMPAS Invites New Korean Members
LEE Byung-hun, PARK Chan-wook, LEE Chang-dong Added to Academy Roster

by Pierce Conran / KoBiz

In its continuing push for diversity, the Academy of Motion Picture Arts and Sciences (AMPAS), which stages the annual Academy Awards, has swelled its ranks with more members of the Korean film industry. New Oscar voters include global star LEE Byung-hun, genre filmmaking superstar PARK Chan-wook and acclaimed arthouse filmmaker LEE Chang-dong.
 
Also joining this year’s ranks are Korean-Americans such as director KIM So-yong, Lost actor Daniel Dae KIM, DreamWorks cinematographer JHUN Yong-duk and film producer Roy LEE.
 
This marks the second year in a row that the Academy has added new members from the Korean film industry, following the invitations of directors BONG Joon-ho and IM Kwon-taek, and actors CHOI Min-shik and SONG Kang-ho, and animator KIM Sang-jin last year.
 
LEE Byung-hun, who presented an award at this year’s Oscar ceremony, first became a superstar in Korea, appearing in fare such as A Bittersweet Life (2005), before conquering the global scene, starring in action titles such as Red 2 (2013) and the G.I. Joe films.
 
PARK Chan-wook is famous around the world for Old Boy (2003), which launched international interest in Korean genre films and received the Grand Prix at the Cannes Film Festival, while LEE Chang-dong is a recognized master of the medium and Best Screenplay winner at Cannes for Poetry (2010). Director KIM So-yong made the Korean indie Treeless Mountain (2009) and the US title For Ellen (2013) starring Paul Dano.