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Korean , Imported Total admissions: Showing themselves in Seoul would surely result in their capture and arbitrary prosecution on some trumped-up charge, so they split up and go into hiding, with Hyun-woo being put up in a remote cabin by a woman named Yoon-hee. Yoon-hee is more than hospitable, and very soon the two are sharing a bed and falling in love. But in this dark era in Korea's history, politics and the state not only limit their freedoms, but ultimately push into their private lives as well. An unusual mix of politics and melodrama that ranges from up until the present day, The Old Garden represents a collaboration between two generations of anti-authoritarian artists: Im's adaptation of Hwang's novel of the same name boasts some very strong casting, with Ji Jin-hee maintaining a nice air of unpredictability around the character of Hyun-woo, and Yeom Jung-ah being given the best opportunity to showcase her acting abilities since A Tale of Two Sisters. The depth of talent in the large cast of supporting characters, many of whom are Im regulars, is also impressive. The film as a whole has been warmly received by local critics, but it has generated some negative reviews abroad, and its festival career has not matched that of its predecessor The President's Last Bang. Im admits to embracing a more mainstream archetype in this film, which may partly account for its mis-matched reception, but there are other issues here as well. Director Im's rebel streak -- which has given us bold sexual talk in Girls Night Out, teenage delinquency in Tears, family scandal in A Good Lawyer's Wife and political intrigue in The President's Last Bang -- manifests itself here in quieter ways: True to form, the narrative is also spiced with sudden eruptions of violence that you really feel in the pit of your stomach. There's one sickly disturbing and heartbreaking scene in particular that viewers won't be able to shake from their memory, even if they try to. It may be presumptuous of me to say this, with my imperfect knowledge of Korean, but there's a real elegance to the dialogue in The Old Garden that one may not feel when watching the film in translation. Every character in the film speaks with his or her own, absolutely unique rhythms and inflections, and so there's a pleasure in hearing characters interact that goes beyond the words themselves. In terms of the narrative, Im is also quite graceful in the way he leaps forward and backward in time, only touching down on what is essential to the characters' memories. Yet despite all its strengths, the film began to lose me as it moved towards its conclusion. As it progresses, The Old Garden becomes steadily more self-conscious and obvious about its own creativity. It's as if at times it steps back to admire itself. From a logical or analytical standpoint, this admittedly makes for a more complex and interesting work. Its refusal to provide cathartic release is also admirable, given that the film bills itself as a melodrama. But there is a magic in the first half -- a sense of everything clicking together in harmony -- that evaporates in the latter reels, and I don't think this was the filmmaker's intention. I still like the film, and consider it a valuable addition to Korean film culture, but thinking back on it produces in me a twang of regret. Or perhaps it's because I've had recent conversations with friends about desiring that person who, in all intense intents and purposes, is wrong for you. Because Sung's debut explores that very conundrum with a refusal to victimize or punish the woman who, for a summer while, chooses the bad man. So-yeon Kim Bo-kyung is taking a break from studying in France and juggling two men at home in the interim. Min-hwan Lee Hyun-woo is the man for whom she'll reschedule at the last moment, the man for whom she'll lie to rearrange those plans and to keep their affair from negatively impacting his position as a diplomat. Hyun-jae Kwon Min is the 'nice guy' who waits for her, opening up his days for whenever she can slip in time for him. Without demanding caricatures of her characters, Sung who also wrote the screenplay has created complex emotions within each one. So-yeon behaves differently when with Min-hwan and when with Hyun-jae. She is malleable in Min-hwan's hands and does the folding and molding of Hyun-jae. But it's not as if she is 'two different people'. Both these ways of being are a part of her. She is vulnerable to being manipulated and being the manipulator. Lover Min-hwan is as diplomatic in his romantic relations as he is in his job. Yes, he's an ass, but he's not out of control. He's in control, presenting an understanding about how 'comforting' a wrong partner such as he might be. And as much as I hate his paternalism, his advice to So-yeon as she leaves for Paris is, well, good advice, which is what's so frustrating about this particular type of bad guy. The 'nice guy' Hyun-jae does all the Mr. These behaviors, and his beauty, impress So-yeon's friend who mentions again and again how she has such an 'eye for men'. At least this is what she says in between her bickering with her husband. So-yeon knows Hyun-jae is a nice guy and that her friend is correct in her evaluation of Hyun-jae, but her friend is also wrong. Those who claim she can't see can't see that Hyun-jae just doesn't work for who So-yeon is right now regardless how nice he is. Eventually, So-yeon will hopefully see this mean streak in her as what it is, a sign that either something in the relationship needs to be addressed or she needs to close that chapter on the relationship. And I want to close this chapter on another important South Korean film for me by coming to So-yeon's statement about what is and isn't "Korean" that caused such laughter to arise in the screening I caught at PIFF. The actual phrase is yelled at Hyun-jae who thinks he's doing the right thing by accompanying her to see her off at the airport. It was translated as roughly 'It's so Korean dropping off at the airport! I need time alone to reflect! First there's the emotion behind it. She doesn't want Hyun-jae there because he'll ruin her replanned plans, causing her to replan yet again, to lie yet again. So she lies to avoid yet another lie. And it is this practice of lying that one hopes she will address during her moments of reflection. Hopefully she will become aware that in such a practice of lying she isn't lying for Min-hwan, but lying for herself. Or better yet, she is lying to herself. One of her more interesting lies is to say she's "Korean-American" in order to acquire morning-after pills from a pharmacist. Still, saying dropping off at the airport is 'so Korean' speaks a truth that resonated with Koreans in the audience at Busan. And yet by having the character elaborate that she needs time alone to reflect, Sung underscores for me why I have kept my focus on South Korean film. It is exactly these moments alone with the characters that allow for reflection on my life, how it affects those around me, and how their lives affect mine. The coda at the end of this film was perfect for me. Like So-yeon, I was alone in a coffeehouse writing this first draft. Summer loves are not meant to last. Their interim status frees them up to be something else, tests for ourselves to see what it is we really want out of our partners, to realize how we act and react with various types of partners. Regardless of the less than healthy decisions So-yeon has made, she is treated like an adult in Sung's hands, allowed to make her own mistakes. She is permitted the adult space to realize she is both strong and weak. She's a liar for now, but the truth isn't very far away. About to take the vow of life-long celibacy, he has a bad break-up with his girlfriend Soo-ah Lee Min-jung, Someone Special. He confesses to the dean that he wishes to leave the seminary, but the latter instead assigns him to a monastery in a remote countryside, supervised by the terse but warm-hearted Father Moon Ki Joo-bong. He adjusts well to the austere monastic life, until one day he runs into Helena, a young nun who is a dead ringer for Su-ah Lee Min-jung again. Pruning the Grapevine is the third film directed by the Russia-educated Min Boung-hun. His previous feature films, Flight of the Bee and Let's Not Cry , were set in Tajikistan and Uzbekistan, respectively, and were made with a local cast. This is the first time Min has directed a Korean cast with a screenplay written in Korean language authored by the director and Yoo Dong-shik. Grapevine is an overwhelmingly sincere film, well-mannered and respectful, that takes its subject, the quest for genuine faith in God, absolutely seriously. It rivals Secret Sunshine in its thorough immersion in the Christian Weltanschauung, so much so that non-Korean viewers who tend to think of, say, Spring, Summer I might add, too, that Catholicism has been around in Korea for years and has produced officially canonized saints: Look up since when Koreans started eating potatoes Viewers who cannot quite accept the theological premise of the film might still be drawn in by Min's astute and patient directorial guidance that keeps the narrative humming, albeit on a low octave. He eschews overt dramatic gestures or button-pushing tactics but all the same extracts superbly nuanced performances out of not only the young leads but also veteran Ki Joo-bong, who invests Father Moon with his customary endearing qualities as an archetypical Korean patriarch as well as a measure of contemplative wisdom. Obviously an unassuming low-budget production, Grapevine still features strikingly beautiful cinematography by a team of young camera-men Kim Jeong-won, Kim Jae-gwang, Lee Byung-hoon and others , particularly impressive in its use of sunlight. It is allegedly inspired by a similar true incident that took place in Armenia and was witnessed first-hand by the director Has Soo-hyun just witnessed a miracle? Whatever his interpretation of this experience may be, the film suggests, he is now happy with the knowledge that his faith has been tested and proven to be real. Pruning the Grapevine, completely indifferent to the thematic obsessions and consumer fads that dominate mainstream Korean cinema today, is a richly rewarding film to open-minded viewers, dramatically powerful and authentically spiritual. I can hardly wait for Min Boung-hun's next project, supposedly a taboo-breaking love story, and only hope that we get to see it before First we meet our police detective Kang Park Yong-woo an obviously troubled man, who has found himself in the predicament of sacrificing ethics in order to finagle the extra cash he needs to pay for his wife's rising medical bills. He reduces charges and siphons off evidence in collusion with crime syndicates for a price, financial and moral. We meet him at a time when he seems to have become aware that the excruciatingly existential price is no longer worth the financial gain. Reassigned to the case of a serial rapist, we learn that his base moral crisis has taken a toll on his body in the forms of alcoholism and insomnia. The other story nestled in is the possible subject in the serial rape case. A young, handsome law student named Min-woo Namgung Min? We discover that he is obsessed with a woman named Su-yeon Min Ji-hye in his neighborhood, a woman he eventually rapes. A few years following that incident, he meets up with her again. Able to hide his identity as the perpetrator of his horrible violation of her, he eventually schemes -- even though his character might be oblivious to this fact, he is in fact conniving -- her into trusting him to the point where she agrees to marry him. This is not an easy film to watch due to its content. Jin maneuvers the camera around Min-woo and his victim to stimulate disturbance in the audience. This is not a 'love at first sight' point of view. There is clearly something wrong with Min-woo's interest. His surveillance is not innocent in a late-bloomer-at-love kind of way, where such ineptness would be endearing. His tactics hint early on as those of a stalker. And it is Jin's choice to hint as opposed to bludgeon, that is so powerful here. When Min-woo finally announces himself to Su-yeon, we are as frightened as she is. Equally adept at arousing discomfort is the dialogue, at least as it is translated into English, demonstrating Min-woo's asocial leanings. An earlier visit had him telling Su-yeon? Korean skin care for troubled skin

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  1. I can hardly wait for Min Boung-hun's next project, supposedly a taboo-breaking love story, and only hope that we get to see it before Thank you for the info, it may seem simple to some people but to other like me the beauty world is a mystery: It may be presumptuous of me to say this, with my imperfect knowledge of Korean, but there's a real elegance to the dialogue in The Old Garden that one may not feel when watching the film in translation.

  2. It may sound like a lofty ambition, but in practice it's not much to hang onto. Production quality is very high, and the climactic vista of Diamond Mountains is indeed breathtakingly majestic, some obvious CGI tweaking notwithstanding.

  3. Joong-shik agrees, and their journey begins. My unsolicited opinion is that, if he had wanted to make a movie that North Korean viewers could truly enjoy, he should have made a comedy with an early '60s sensibility.

  4. He eschews overt dramatic gestures or button-pushing tactics but all the same extracts superbly nuanced performances out of not only the young leads but also veteran Ki Joo-bong, who invests Father Moon with his customary endearing qualities as an archetypical Korean patriarch as well as a measure of contemplative wisdom. When we first meet her, she seems to be wandering aimlessly and innocently around the dark city streets and we get the impression that she has just arrived in the country.

  5. But they can also exclude each other, since it's this very same network that is partly responsible for Ji-hah's troubles later on. She is malleable in Min-hwan's hands and does the folding and molding of Hyun-jae. Unfortunately, Hwang Jin-Yi, while not a hideously self-righteous train-wreck like Hanbando, is still a chore to sit through.

  6. To be clear, I pass no judgment on the fact that horse meat is a popular dish in many countries throughout Europe and Central Asia. She seems to be doing this for self-validation as she claims the aurora will only appear to those who are pure. The sound design by Lee Sang-wook also deserves mention.

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