South Korean films - solid experiments

The very first South Korean film, released in the Russian box office over 15 years ago, was a dramatic thriller "Shiri" directed by Kang Jae Gyu. Afterwards, practically all the works of Kim Ki Dok and Pak Chan Uka were demonstrated in the domestic cinema (the detective thriller "Oldboy" became even popular, because the main antagonist possessed the voice of Goshi Kutsenko), also released South Korean films by Lee Chang Dong, Pong Joon Ho, Hon San Suu. But for the most part this film industry remained mysterious and unknown for the viewer-compatriot. After 2013, the Russian viewer did not have an opportunity to assess all the achievements of this cinematography.

Outside the media radar

But South Korean films have not disappeared anywhere and they certainly have not become worse, they are constantly taking part in all kinds of international film festivals, but they are more accessible only on the Internet, they only get to Russian cinemas only occasionally. Paradoxically, they are characterized by stubborn inattention from Russian critics, film critics and journalists. Sometimes South Korean films with Russian voice acting suddenly fall on the radars of the domestic press (if the creator receives the award of the international festival). In this case, the picture is written, but basically retelling the established set of myths and stamps, borrowed from Western sources. This perception and attitude is completely unfair, because South Korea is one of the few states in which cinema develops in the 21st century, and does not degrade.

Stimulation of experiments

The whole structure of Korean cinema stimulates experiments. The success of the paintings is completely unpredictable, no one needs special effects, the participation of film stars can not guarantee the box office. Cases when producer success formulas have worked or "high concepts" are exceptions, not rules. Therefore, producers simply have to work with authors who have an individual style, even if an ordinary genre film is shot. A vivid example of a successful union of creators can serve as a fantastic melodrama "Werewolf Boy" directed by Cho Sung-hee.

Imbued with emotions

The film Cho Sun Hui is truly magnificent. Moral subtext is understandable without words. Professional director's work, verified plot, high-quality shooting and editing - this is not all the eulogies of the movie "The Werewolf Boy". Impressive of its organic and cast, all the actors are chosen perfectly and all as one have coped with the task. The main character is played by Son June Ki - a young talented actor who has not only a pleasant appearance, but also a dramatic potential. His partner, Pak Bo Yong, who performed the main female role, a sweet girl, a beginner but promising actress, is not deprived of talent. The plot is not full of innovation, but it's impressive. The whole film is saturated with emotions, however, like the other South Korean films about love. The final of the story is tragic, but it is natural that it saddens and conquers overnight.

Tears and blood

A somewhat different emotion is evoked by the criminal dramatic action film Man from Nowhere adapted to the audience outside of Asia. Directed by Lee Jeong Boom gave the world an actual drama, saturated with a fair share of the action. In the world cinema there is a fair amount of films with a similar plot, in which there is a single hero and a crowd of bad guys. The achievement of Li Jeong Boom should be considered that he brought to the known something new, author's interpretation, thanks to which she had a resounding success not only at home, but also in the world box office. "Man from nowhere" is extremely cruel, but amazingly beautiful film. The abundance of corpses and blood does not cause a feeling of disgust due to either the "dancing" style of fighting, or the fascinating movements of the camera. In the film, there is no excessive-pathos praise of the main character, there is not a grain of vulgarity and hypocrisy. In it everything is literate, subtle and laconic - in the oriental. From the acting casting, the main actor Von Bin (formerly a model) is singled out, who is not being removed for an unknown reason. Kim Sae Ron beautifully revealed the image of a girl, not needed by anyone, not even her mother. Kim Hee Won and Kim Son O embodied on the screen brothers, causing irritation. Tanaeong Wongtrakul played the role of a sentimental killer.

The role of the author

The role of the director in Korean cinema is paradoxical - the aurerism exists in it not in a modern degrading and degenerating, but in a primordial form. The author, fighting for his author's vision with the studio and producers, manages to shoot South Korean films for the viewer. An example can serve as the work of Pong Zhong Ho Memories of Murder, which was unconditionally enlisted both by critics and filmmaking in the top 10 best films of the past decade. Most of the works of Pak Chang-Uko are hits of hire. The main South Korean blockbuster in 2012, the follower of David Mamet, Choi Don Hoon, "Thieves" - is also a purely author's film in the genre of the classical privateer.

Attention and study

South Korean films are not a movie of the third world, but a whole film industry. This is the cinema, which at the present time is not among the "third world" countries. There are, in addition to those recognized by the West, other authors, and "Memories of Murder" and "Oldboy" everything interesting is not limited. South Korean cinema deserves study and attention, as it ceaselessly and continuously changes, seeks its own way, style, processing all the permissible and well-known in the world cinematographers.