Posts Tagged ‘ film review ’

#13 Confessions – Dir. Tetsuya Nakashima

Confessions –
A psychological thriller of a grieving mother turned cold-blooded avenger with a twisty master plan to pay back those who were responsible for her daughter’s death 

“Carmen, you watch some of the sickest, creepiest movies, I swear.” – my mother last night as we were watching this.

Okay, in my defence, I don’t like gore and I’m not big on horror or thrillers… but I do really enjoy films that make you think and, personally, I find that a great deal of foreign cinema makes me do just that. Big budget blockbusters from Hollywood seem generically shallow these days; there’s little there but the retelling of old stories we’re all already familiar with, all made pretty. They’re great for entertainment and preoccupying our minds so we don’t need to dig too deep into our psyche but that’s all they’re really good for.

Based on a novel by Kanae Minato, Confessions is a teensy bit gory. Only a little. But it’s manageable. The real horror doesn’t come from the arterial spray of blood on white walls but from the psychological terror of the potential damage humans can inflict. Humans – not just adults but children too. Confessions showcases how our race manipulates, lies and kills in order to cover our tracks or reveal ourselves to the world. It shows how callous and cruel people can truly be when under duress from circumstance and pressure.

The real horror in today’s world is ourselves – and the majority of it is self-inflicted. Confessions attests to that; the pressure of school (you must do well, you must get the best grades, you must be recognised), pressure from parents and friends, bullying and death. These are just a few of the main themes the film deals with in mirroring reality.

The true message behind the film though is one to be worked out on our own. How precious is life? How can anyone even begin to answer that? Perhaps then, the better question would be, how precious is life to each and every one of us? Do some of us hold it in greater esteem? If we, like the female teacher, Sensei Yuko, lost our young child because of someone else’s ego, would we seek revenge? Would we sit by passively? Could we forgive?

On a final note, the acting in this was particularly impressive. Child actors usually go hand-in-hand with happy-go-lucky films, all gravitating towards a Happy Ending. But the children/young-adults portraying a class of thirteen year olds played their roles amazingly – and every single character brought raw, base emotions to life on screen with incredible honesty.


#9 Korean Cinema

So today I thought I’d briefly cover a few (South Korean) films that I’ve watched in the last week:

  • Thirst (Park Chan-Wook, 2009)
  • Maundy Thursday (Song Hae-Seong, 2006)
  • Haunters (Kim Min-Suk, 2010)
  • Duelist (Lee Myungse, 2005)
  • Secret Reunion (Jang Hun, 2010)

A recurring theme in four out of these five films is the actor Kang Dongwon, currently enlisted in the Korean army. Firstly, I’d like to say that he’s not just a pretty face; man, can this guy act. In the majority of these films, he doesn’t speak too much. It’s a credit to him how much he is able to convey through his eyes alone. Another actor, whom you may have heard of before, is Song Kang-ho who acted alongside Kang in Secret Reunion. You might recognise veteran Song Kangho from Thirst if you’ve seen it or, at the very least, from Park Chan-Wook’s monster epic The Host.

Each of the above films has reduced me to tears, particularly Maundy Thursday, a tale of a convicted murderer on South Korea’s Death Row, awaiting his execution. The film takes you through his journey of wanting to die and a suicidal woman with whom he grows close to, both of them meeting weekly on a Thursday in the prison and each working through their own issues. The film touches on a lot of sensitive issues (the death penalty, suicidal tendencies, forgiveness, trust and dependency) with Kang Dongwon and female-lead Lee Nayoung bringing incredible emotional tension to the screen in their performance. Although the ending is somewhat predictable (as with much recent South Korean cinema although that’s not to say this is a bad thing), this is definitely worth a watch. Just ensure you have a packet of Kleenex to one side as it’s a real tear-jerker, churning your emotions and throwing your own outlook on criminals into a perspective that you question throughout the narrative.

Haunters, Duelist and Secret Reunion are probably more approachable from a Western cinema-fan’s point of view.

Duelist is a period martial arts film with a stunning backdrop of modern music with gentle touches of traditional East-Asian instrumentals and colourful scenery, edited in an entirely fascinating manner throughout. The most appealing scenes have to be the swordsmanship display at the beginning and the final battle-scene between the lovers, although this can be interpreted more as a dance, a type of mating ritual perhaps, but a little more tender.

Haunters, also known as Psychic, is a particularly tense cinematic ride although this is eased up on by frequent interjections of humour; you probably shouldn’t laugh but you’re going to anyway. There’s also an interesting representation of foreigners in this film and it’s generally a positive one. The protagonist is best friends with two extremely fluent Korean-speaking men; one from Ghana, the other from Turkey. Surprisingly, they play a major role and it is their bond with the protagonist that helps to progress the narrative and also offer some light comic relief.

Secret Reunion was one of the most successful films of 2010 in South Korea, dealing with North Korean defectors and both North and South Korean spy agencies seemingly battling each other. It proposes an interesting tale of tentative and cautious friendship between a shamed South Korean ex-agent and a shunned North Korean spy. The on-screen chemistry between these two is wonderful whilst highlighting the problems families encounter because of the separation between the two nations. Perhaps this could have been explored in greater detail but all is forgiven when you encounter Kang Dongwon wrestling with a chicken as Song Kangho screams and tries not to crash their car… The twists at the end of this film ensure you leave on a light-hearted high, leaving you feeling mostly satisfied that, for once, a certain actor is not sticking to his convention of dying in every movie he partakes in.

I found Thirst to be an extremely refreshing watch. There are no sparkling vampires and a priest is forced to question his morals and his very nature when an accident occurs during a blood transfusion, resulting in him becoming a vampire. This is one of the most explicit films I’ve watched recently – there’s a lot of nudity and sex although, again, this is refreshing to see that vampires haven’t been toned down in an attempt to lure in a romantic teenage audience. Of course, the film does have its fair share of romance although this causes no end of trouble to the priest. The ending is satisfyingly tragic because, after all, nothing in reality is perfect and this is a trait that most filmmakers seem to forget, often ending with happy, fluffy endings, particularly in the West.

It’s hard to watch South Korean cinema without being shouldered with a lot of emotional baggage. But it is this convention that adds to its charm. Instead of the physical fear of a monster you can see, it is the psychological fear and violence in a character that brings us, the viewer, the more intense feelings of fear and, occasionally, happiness. I can walk away from films like those above feeling refreshed, challenged, happy and even emotionally drained. And I enjoy it.

Most people I speak to dislike world cinema simply for the fact that, uh, ‘subtitles equals no’. I’ve never understood this, particularly if they enjoy reading as a hobby. You read books so it can’t be so hard to read a screen, right? Since I was young I’ve switched the subtitles on, on the TV, and turned the volume down a smidgeon. With world cinema, I relish the subtitles; I am constantly adding to my vocabulary not only words from another language but also phrases. World cinema teaches me about different cultures, different life lessons, alternate perspectives. It challenges me to leave single-mindedness behind.  Exposing yourself to different genres, cultures and people can only open up an entire new world for people. This is especially true of writers. All cinema is inspirational, as are books and music, and we should do our best to consume as much of other cultures as we possibly can, even if it’s only to say that we tried it and don’t like it.


Questions? Leave them as a comment and I’ll get back to you 🙂