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| Arirang - Kim Ki-duk; - CANNES - | |
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| Tweet Topic Started: Apr 27 2011, 04:54 PM (892 Views) | |
| Hitman-Reloaded | Apr 27 2011, 04:54 PM Post #1 |
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Black Belt 10th Dan
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![]() Arirang Arirang is about Kim Ki-duk playing 3 roles in 1. Through Arirang I climb over one hill in life. Through Arirang I understand human beings, thank the nature, and accept my life as it is now. We are now… in the terrestrial world lurking with desires, in the ghostly world lurking with sorrow in the imaginary world lurking with dreams, with no beginning nor end, slowly going crazy. What is affection that it still remains all around me decaying? It’s still stuck to the crown of my head, testing my emotions. It’s still hiding deep within my heart, testing my sense of compassion. If I didn’t give my heart, they would be bad people erased from memories but if I gave my heart, I couldn’t let them go till the day that I die as despicable people. Ah… Arirang Alright Let’s mercilessly kill each other in our hearts till we die. Even today I hold back as I get angry I laugh as I get jealous I love as I despise And forgive as I quiver with the urge to kill. Wait I will kill Myself, who remembers you. http://www.cine21.com http://movie.daum.net/ http://www.movist.com/ |
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| Hitman-Reloaded | Apr 27 2011, 06:07 PM Post #2 |
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Black Belt 10th Dan
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[YOUTUBE]https://www.youtube.com/watch?v=rSN3p9uWNK4[/YOUTUBE] |
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| Hitman-Reloaded | May 14 2011, 01:53 PM Post #3 |
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Black Belt 10th Dan
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Arirang By Dan Fainaru Dir: Kim Ki-duk. Korea. 2011. 100mins This, without any doubt, is the ultimate “film d’auteur” ever made. Kim Ki-duk’s one-man astounding performance- there is nothing in this film he doesn’t do and there is no one else except him - is a thought-provoking tour de force, the far out experiment of a filmmaker in crisis, asking himself crucial questions about himself, his profession and his past achievements, in a manner that will most likely put off general film audiences but should reach every film school and festivals in the world, its topics to be discussed by anyone who would like to dedicate his or her life to making or even watching movies. Doing it justice in a short review is almost impossible, not because Kim Ki-duk is providing revolutionary insights into his line of work, but because he raises numerous issues that are too often ignored as irrelevant or pedantic by professionals who should know better. Since 2008, when one of his actresses almost lost her life in the course of shooting Dream, an incident for which he blames his own negligence, Kim Ki-duk stopped making films, retreated in the company of a cat to a lonely house on the hill, on the outskirts of an unspecified city. There, in complete solitude, he started mulling over his entire existence, the films he made, the themes he had chosen for them, about his own life but also about life and death in general, about violence, friendship, loyalty, treason, about his ethical choice in films but outside them as well. With no one to talk to, he acquired a Canon digital camera, started shooting not only his daily activities but also turning it on himself, with one Kim Ki-duk is asking questions, like “why did you drop everything and chose this hermit’s life” and then has the other Kim Ki-duk answering in a long, painful soliloquy, detailing all his doubts, fears, disappointments, personal and professional, and the adding a third Kim Ki-duk, who follows the conversation between the two others on a monitor, with a sort of doubtful look on his face. One might even add yet another participant in this one man conversation, Kim Ki-duk’s shadow, whose questions prompt the filmmaker to dig even further on his introspective journey. The film’s title is the name of the song he renders in a hoarse cry, as if wrenched out of his own soul into the camera, poetically expressing his profound disarray, his feeling that life is a series of hills you climb and then descend, a never ending cycle which governs our entire existence. Unsurprisingly, the film ends with Kim Ki-duk departing from everything that represented his previous work before embarking on a new film career, since filmmaking is definitely the one thing he wants to do. He is actually revisiting his past and symbolically emptying his revolver into it, after which he watches that most representative philosophical cycle of his career, Spring, Summer, Autumn, Winter… and Spring on his TV monitor. Even in such rudimentary conditions, one can’t ignore Kim Ki-duk’s gift for colour compositions, whether he shoots his pots and pans or his working tools, and just in case anyone forgets, the posters of his films keep fresh the memory of his past work while the early paintings he did in the South of France are very much in evidence at the end of the film. Whether everything Kim Ki-duk says in this film is a spontaneous, sincere reflection of a troubled conscience or a carefully thought out script, one will probably never know. However, there is no doubt that the questions are perfectly valid and need to be addressed by anyone who considers himself a conscientious artist. As for the new direction of his career, better wait for his next film. http://www.screendaily.com/ |
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| Hitman-Reloaded | May 14 2011, 02:36 PM Post #4 |
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Black Belt 10th Dan
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Arirang (South Korea) By Leslie Felperin A Kim Ki-duk production. (International sales: Finecut, Seoul.) Produced, directed, written, edited by Kim Ki-duk. With: Kim Ki-duk. Korean filmmaker Kim Ki-duk bares his tortured, inebriated soul in "Arirang," and it's not a pretty sight. An experience that can be likened only to being stuck next to a drunk in a bar who keeps reminding you he used to be famous, all his friends are bastards and he now understands the meaning of life, pic might have proved therapeutic to make, but it's a grind to watch, even for fans of the maverick writer-director's work. Kim's rep will inevitably ensure further fest bookings for what is essentially one long whine, but theatrical distribution anywhere looks highly unlikely. Further evidence, as if it were needed, that digital is both the liberation of low-budget filmmaking and the enabler of self-indulgence, the pic was made entirely by Kim, according to credits culled from the production notes. (Indeed, the only word onscreen, apart from subtitles on the version shown in Cannes, was the title.) And like some other films that have cropped up recently (notably Joaquin Phoenix meltdown movie "I'm Still Here"), "Arirang" takes advantage of the verite connotations associated with digital to deliberately blur the line between docu and drama. The action, such as it is, mostly consists of footage of Kim going about his daily routines -- chopping wood, making food, voiding his bowels in the snow outside -- in and around the mountaintop shack he's been holed up in for some time, ever since he had a nervous breakdown precipitated by a near-fatal accident that happened on the set of his previous feature, "Dream," in 2008. In between these quotidian tasks, he knocks back the soju (the Korean equivalent of vodka) and interviews himself via some crude crosscutting about where it all went wrong. Like many barroom bores, he's not shy about crowing over his own talent, little in evidence here, although supporters know he's capable of greatness. One example of his former glory is "Spring, Summer, Fall, Winter … and Spring," his international breakthrough, which, in one of "Arirang's" most piteous scenes, Kim watches tearfully on DVD, a shadow of the former self seen in "Spring," climbing a mountain while dragging a concrete anchor behind him. Kim partly blames his miserable state on former friends, such as his one-time protege Jang Hun (who helmed "Rough Cut" from a script by Kim), for abandoning him. But to his credit, he also blames himself a bit, and goes over how he's always been an outsider, even when he was a machinist and street artist. In tones more bemused than wounded, he wonders if the countrymen who gave him medals of honor when he won awards at international film festivals even saw his dark films, particular those, like "Address Unknown" and "Time," that lambast Korean society. Just when auds might be thinking this is an actual video diary, Kim puts his machinist skills to use on a firearm and goes out to take revenge, a swerve into pure fantasy (one hopes) that reps the cinematic equivalent of saying, "I was just kidding, this isn't for real." Altogether, the whole shooting match is sordid and tacky; to discuss or program it further starts to feel like some kind of enabling in itself. Fans can only hope that having gotten this out of his system, Kim will go back to making proper films, which, as he self-aggrandizingly points out, many are eagerly awaiting after this uncharacteristic three-year hiatus. According to the rather clumsily translated English subtitles, pic's title refers to a word meaning something like "self-realization" in Chinese characters, and is the title of a mournful tune Kim bellows repeatedly throughout. Camera (color, HD), Kim; sound, Kim. Reviewed at Cannes Film Festival (Un Certain Regard), May 13, 2011. Running time: 100 MIN. http://www.variety.com/ |
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| Hitman-Reloaded | May 22 2011, 09:57 PM Post #5 |
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Black Belt 10th Dan
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Un Certain Regard Announces Top Prizes (Cannes 2011) by Rebecca Leffler Kim Ki-Duk’s "Arirang" and Andreas Dresen’s "Stopped on Track" share honors. Kim Ki-Duk’s Arirang and Andreas Dresen’s Stopped on Track shared the top prize of the Un Certain Regard selection at this year’s Festival de Cannes. Emir Kusturica and his jury gave a Special Jury Prize toAndrey Zvyagintsev’s Elena and the award for Best Director to Mohammad Rasoulof for Au Revoir. The Un Certain Regard selection screened 21 films from 22 directors hailing from 19 different countries. Kusturica’s jury also featured Elodie Bouchez, Peter Bradshaw, Geoffrey Gilmore and Daniela Michel. The festival’s main competition prizes will be announced at the closing ceremony in Cannes on Sunday. http://www.hollywoodreporter.com/ |
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| Hitman-Reloaded | Aug 16 2011, 02:40 PM Post #6 |
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Black Belt 10th Dan
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Arirang' making local premiere at digital film fest By Lee Hyo-won Kim Ki-duk’s controversial, Cannes-winning comeback piece “Arirang” will make its Korean premiere at Cinema Digital Seoul (CinDi), a local showcase for digital works that kicks off in Apgujeong CGV tonight. “Arirang,” named after the famous folksong, created a stir at the Cannes Film Festival in May as it marked the film maverick’s comeback after a three-year hiatus. The documentary-style piece captures Kim’s efforts to cure a “director’s block” and won the cineaste the top prize in the Un Certain Regard section. “We have chosen to show Kim Ki-duk’s ‘Arirang’ in the CinDi Surprise section, which introduces viewers to the year’s most refreshingly provocative and cinematically surprising works,” CinDi organizers said. Chung Sung-ill, renowned film critic and program director of the festival, called the film a “one-man band portrait of Kim Ki-duk,” since the filmmaker produced, directed and was the central character. “Ever since Van Gogh cut off his ear, I would say this is the most harrowing, brutally honest and transparent self-portrait that in a way marks Kim Ki-duk’s second debut (as a filmmaker),” he said. Meanwhile, other works by Cannes-winning directors can be seen at the festival. Hong Sang-soo, a favorite of European film festivals, will open this year’s CinDi with his latest work, “The Day He Arrives.” The prolific director will display more of his minimal realism through the meandering, drunken escapades of a former filmmaker in Seoul. Meanwhile, Palme d’Or winning Thai cineaste Apichatpong Weerasethakul, who visited CinDi as a judge in 2009, has directed a dreamy trailer for the festival. In a previous interview with The Korea Times, Weerasethakul, who had always been insistent on using analogue film for his work, said that attending CinDi expanded his views about the possibilities of digital cinema. “Seoul was really amazing. I found many, many ways you can approach digital. With the diversity and experimentation that I found in that festival, I appreciate it more. The young generation introduced me to the future.” The trailer thus marks the filmmaker’s rare experimentation with the medium. Fans will also get to view Park Chan-wook’s Berlin Golden Bear-winning short that he co-directed with his video artist brother Chan-kyong. The movie, starring Oh Kwang-rok and Lee Jung-hyun, is about a man who transcends his current and former lives after catching a woman while fishing in a river in the middle of the night. The 30-minute flick was entirely shot using an iPhone 4. Along with “Night Fishing,” seven other smartphone creations will be introduced in the CinDi Smart section. This year’s edition of CinDi, which marks its 5th, will introduce fans to 98 films from 32 countries. Other works not to be missed include the Cannes-winning “Once Upon a Time in Anatolia” by Turkish director Nuri Bilge Ceylan; “Outside Satan” by seasoned French cineaste Bruno Dumont; and the six-part omnibus film “Women’s Hair Seen by...” by Iranian filmmakers including the internationally renowned auteur Abbas Kiarostami. http://www.koreatimes.co.kr Master director Im Kwon-taek, who used the digital medium for the first time for his 101st film, “Hanji,” will give a master class on Aug. 21. CinDi continues through Aug. 23. Visit www.cindi.or.kr (Korean and English) for more information. |
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