Mon. Jun 27th, 2022

The small sphere of cinema fans plugged into the World Cinema know something of the new and surprisingly good works coming out of up and coming nations like South Korea every year. As one of the burgeoning powers in world wide pop culture, South Korea became not only a major force in the online gaming sphere in the past few years, but have grown in the animation fields and in countries like China and Japan, their music industry is exploding rapidly. The films aren’t all pop and circumstance though (though, they manage to pump out their fair share of goofy romantic comedies) as a small circle of directors has begun to affect not only those of us attuned to film from afar, but winning the top prizes at Cannes and more. For those of you still wholly unfamiliar to Korean cinema, I’m compiled for you a list of some of the best films to come from our Far Eastern neighbors in the 21st century. These are all films released in the last 7 years that display where and how Korean Cinema is going and why you should pay attention.See-through Glass Beaker Bong ice catcher & perc - Bong Mania Australia

My Sassy Girl – The first film of Jae-Young Kwak, My Sassy Girl is the quintessential romantic comedy out of Korea. It’s important to remember that in South Korea all young men are expected to serve a short term in the military. For a country on the border cheap bongs of a communist country under the leadership of a psychopath, conscription is necessary. So, there’s been a long tradition of a 20-something cinema that makes light of the young men and their situation and their futures that are always abruptly cut out from them for a couple of years in their twenties. This film takes that anxiety and crafts a brilliant comedy, in which our nimble, anxious young man can’t quite keep up with his energetic, straightforward girlfriend. The love story is powerful and shortly after this film was released, a few hundred more copycats were made, none of them nearly as good, but all of them pocketing cash in handfuls. As one of the first true crossover college age hits to America, there’s currently an American remake in the works (which I beg you all to boycott).

Attack the Gas Station (and Kick the Moon) – Two films here. Both from Sang Jin Kim, and both amazing. I group them because they kind of take on the same ideas. And Attack the Gas Station was released in 1999, so it’s pushing the requirement. Anyways, it’s the tale of youthful indiscretion and anger in young men, once again the youth culture of Korea out of control and striking out. Four young men in need of money attempt to rob a gas station for the fifth time and run into a few troubles. They get stuck in a hostage situation and hilarity ensues. The key to Korean comedy is that it’s never fully about the comedy. They don’t forget the reality of the characters’ situations or what will happen to them after things are over. It’s very dry in that regard, but at the same time that much easier to feel a part of. One of the defining films of the generation, and its follow up Kick the Moon, which is about returning to youth after this period and confronting for the second time those youthful urges, is a better film if not quite as funny.

3-Iron – This film is one of the newer films from Kim Ki-Duk, who at this point is probably my favorite Korean filmmaker. His mastery of the subtle, washed out tones of contemporary life is genius. This film in particular is about a young man who travels from house to house of families on vacation and breaks in to use their home, himself homeless. That is until he accidentally makes a mistake and breaks into a home that isn’t empty. The sparse detachment of this film is what makes it so effective. One of the growing trends in Korean film is the ability to step back and just show, to have an outside force affect your life without you knowing its there. Once again, I attribute this to repressed awareness of the neighbors to the north and the imminent danger they represent, but must be ignored for the sake of a routine daily existence. The main character here becomes just that. Something of a shadow, capable of being in a room with four walls and no furniture and not allowing anyone to see him.

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