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| Pink - SEO Gab-sook, LEE Seung-yeon, PARK Hyun-woo; UPCOMING 10-27-2011 RELEASE | |
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| Tweet Topic Started: Sep 21 2011, 11:43 AM (868 Views) | |
| Hitman-Reloaded | Sep 21 2011, 11:43 AM Post #1 |
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Black Belt 10th Dan
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![]() At rainy dawn, Su-jin gets off a train at some train station and heads towards a bar named Pink and starts working there. Ok-ryeon has run Pink for over ten years. She has a son, Sang-guk, who never speaks. Ok-ryeon, Sang-guk and other powerless and failed people remind Su-jin of her painful family history. When she was young, she was sexually abused by her single father. She has been living in shame and feeling of guilt. Her past still haunts her in Pink. Inside Pink, Su-jin sees the image of her father again and she experiences emotional breakdown. DIRECTOR- JEON Soo-il Director JEON Soo-il is known for steadily making independently produced films since 1990.With his roots set in Busan, just as he is far in distance from Korea’s cultural center, Seoul, he has been making different types of films from the norm that have been recognized worldwide. From his debut film till today, all his works have been invited to international film festivals and received awards. Filmography 2009 I CAME FROM BUSAN 2008 HIMALAYA, WHERE THE WIND DWELLS 2007 WITH A GIRL OF BLACK SOIL 2007 TIME BETWEEN DOG AND WOLF 2003 MY RIGHT TO RAVAGE MYSELF 1999 THE BIRD WHO STOPS IN THE AIR 1997 WIND ECHOING IN MY BEING http://movie.naver.com http://www.cineseoul.com/ http://www.mline-distribution.com/ |
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| Hitman-Reloaded | Sep 21 2011, 11:48 AM Post #2 |
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Black Belt 10th Dan
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Edited by Hitman-Reloaded, Sep 21 2011, 11:50 AM.
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| Hitman-Reloaded | Sep 30 2011, 01:16 AM Post #3 |
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Black Belt 10th Dan
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| Hitman-Reloaded | Sep 30 2011, 01:18 AM Post #4 |
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Black Belt 10th Dan
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TRAILER |
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| Hitman-Reloaded | Sep 30 2011, 01:26 AM Post #5 |
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Black Belt 10th Dan
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TRAILER FILMSMASH LINK |
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| Hitman-Reloaded | Oct 11 2011, 02:16 PM Post #6 |
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Black Belt 10th Dan
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Pink By Darcy Paquet Korean director Jeon Soo-il’s eighth feature film Pink,set within a rural fishing community slated for demolition, is a muted but forceful portrait of two enigmatic women. One of Jeon’s stronger works, it will be embraced by festivals, though its commercial prospects with domestic and international audiences look very limited. The film screened at the Busan International Film Festival. The film opens with the first meeting between a middle-aged single mother Ok-ryeon (Seo Kap-sook, seen in Bongja) who owns a hilltop bar and cares for her mentally handicapped son Sang-guk (Park), and an emotionally reserved woman Su-jin (Lee Seung-yeon) whom she has hired to run the bar. While serving local customers and looking after Sang-guk, Su-jin slips hesitantly into her new routine, but is periodically haunted by visions and flashbacks to traumatic experiences from her childhood. Meanwhile, Ok-ryeon resists the admonitions of her policeman lover and heads a local effort to demonstrate against the planned redevelopment of the community. In an aesthetic sense the low-budget film shares much in common with Jeon’s previous work, which includes the award winning With A Girl of Black Soil (2007) and San Sebastian competition entry I Came from Pusan (2009). Here too, his focus is on alienated, lower class characters who grapple with inner trauma and external threats to their livelihood. Nonetheless, the director de-emphasises the drama of their situation and clouds our perception of what the characters are actually feeling. In this sense, the viewer is constantly challenged to piece together the emotional states of its characters. Revisiting themes of trauma, sexuality, and the conflict between hope and despair, Jeon paints a vivid portrait of a community that has been largely abandoned, and whose existence itself is under threat. The film’s title derives from the name of the bar, which is identified by a pink signboard with no lettering, and which evokes in an ironic way the spirit of la vie en rose. Production company: Dongnyuk Films, Mountain Pictures International sales: M-Line Distribution, www.mline-distribution.com Producers: Jo In-sook, Park Joong-rae Screenplay: Kim Gyeong, Jeon Soo-il Cinematography: KimSung-tai Art director: KimGeon-woo Editor: Jeon Soo-il Sound: Lee Sung-chul Music: Kang San-eh Main cast: LeeSeung-yeon, Seo Kap-sook, Park Hyun-woo, Kang San-eh, Lee Won-jong http://www.screendaily.com/ |
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| Hitman-Reloaded | Oct 11 2011, 02:38 PM Post #7 |
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Black Belt 10th Dan
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Pink: Busan Film Review by Kirk Honeycutt The Bottom Line Muted but effective performances by two fine actresses highlight Jeon Soo-il’s eighth feature. Busan’s resident auteur Jeon Soo-il relates a tale of hardship in a nearly abandoned seaside community in his typical austere style. The other Korea is on display in Pink, a film made by one of Busan’s resident auteurs, Jeon Soo-il. Unlike the sleek skyscrapers and myriad construction sites that surround Centum City and the new Busan Cinema Center where the festival has set up camp, Pink takes place in a mostly abandoned and derelict beachfront area where the film’s middle-aged heroine, Ok-ryun (Seo Kap-Sook in a return to the screen after a decade-long absence), runs a shabby bar called Pink. Local workers and drifters are her small cliental. Like the proprietress and her newly hired helper, the mysterious Soojin (Lee Seung-yeon), each probably has a story to tell. Only nobody talks much in this movie except for the inebriated customers. For Jeon’s style is one of a rigorously imposed austerity: Actors stare expressionlessly into space. The camera moves seldom, content to gaze at moody water or silent buildings. The story inches forward without much incident. The film is, of course, aimed at festivals and art houses. But within its own frame of reference and aesthetics, the story, written by the director and Kim Kyung, achieves poignancy. The area surrounding Pink is scheduled for evictions and building demolition but Ok-ryun is a holdout. She takes part in sit-in demonstrations against the demolitions that have so far accomplishednothing. Hers is a hard life as her son (Park Hyun-woo) is autistic and her only romance is an occasional tumble with a policeman, who otherwise can’t understand her stubbornness in clinging to Pink. Meanwhile, Soojin drifts through her days and nights at the bar and in quarters she shares with her boss and son in a kind of daze. You sense a past trauma, one that must involve the ghostly appearances of an old man whose sight she cannot bear. Men eye this lovely woman so lost in her own thoughts. The only male she does develop affection for, curiously, is the handicapped son to whom she is drawn. The guy at the fish market can’t get her to talk to him. A local worker, who plays acoustic guitar, does get her out on his boss’ boat. She then jumps overboard and he has to retrieve her. In these moments and the occasional unsettling behavior, Jeon examines the lives of his two female characters. He clearly isn’t big on exposition; nor does he trust dialogue. Rather he lets a viewer discover the characters for themselves, interpreting motives and imagining past lives. (The specter of the old guy might seem obvious even before it’s explained.) There is something a little too artful in this film though, something a little too much controlled by the filmmaker, that adds an artificial note to his otherwise naturalistic style. Thus, you sense a lead-up to another revelation or epiphany or startling incident. You might even imagine that the bar’s metaphorical pink sign will finally go on at the end as the guitar player sings a haunting melody. You would not be wrong. Venue: Busan International Film Festival, Korean Cinema Today Production company: Dong-Nyuk Films, Mountain Pictures Cast: Lee Seung-yeon, Seo Kap-Sook, Park Hyun-woo, Lee Won-jong, Kang San-eh Director: Jeon Soo-il Screenwriters: Jeon Soo-il, Kim Kyung Producer: Lee Jae-sik Director of photography: Kim Sung-tai Production designer: Kim Geon-woo Music: Kang San-eh Editor: Kim In-su Sales: M-Line Distribution No rating, 97 minutes http://www.hollywoodreporter.com |
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| Hitman-Reloaded | Oct 21 2011, 04:54 PM Post #8 |
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Black Belt 10th Dan
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Jeon explores psychosexuality in 'Pink' By Lee Hyo-won Art house favorite Jeon Soo-il brings yet another slow, stark drama that reveals the grit and beauty of ruins. Having premiered earlier this month at the 16th Busan International Film Festival, “Pink” incisively examines the nature of implosive violence and psychosexuality through the squalor of a desolate port town. It is destined for hotwire the international film festival circuit and art houses, while the big screen comeback of seasoned actress Suh Gap-sook and acting debut of rocker Kang San-eh may attract niche audiences here. After taking viewers from an abandoned mining town (in the multiple award-winning “With a Girl of Black Soil”) to the Himalayas (“Himalaya: Where the Wind Dwells”), the director presents a pub and its ruinous environs that feel all too real. The bar, eponymously called Pink, and the desolate lives that are centered there, are far from rosy. Like Jeon’s other works, the film is all about creating an atmospheric landscape and the withered characters are but details of the peculiar scenery — physical extensions of the withered “makgeolli”-stained tables or the refrigerator randomly tossed out on the mudflat, which the tides swallow and vomit back up twice daily. Lee Seung-yeon, not to be confused with the beauty queen-turned-actress of the same name, plays her first lead role after appearing in memorable supporting roles in indie flicks such as “My Dear Enemy” and “Breathless.” She unleashes a quiet tour-de-force as Su-ji, a mild-mannered woman who exudes beauty in her simple, makeup-free visage and unassuming melancholic air. The viewer is introduced to all the curious quirks of the village through outsider Su-ji. She has moved there to lodge and work for Ok-ryeon (Suh), a 40-something-year-old who runs Pink while raising her autistic teenage son Sang-guk by herself. Ok-ryeon becomes increasingly preoccupied with demonstrating against urban development plans that would force locals to move out of their longtime homes, and Su-ji is left to look after the bar and Sang-guk (convincingly played by Park Hyun-woo). Our introverted protagonist makes an effort to deal with customers that are much too eager to befriend her and the silent boy who refuses to attend school. She warms to her new home, as she forms an intimate bond with Sang-guk, responds to the advances of a flirtatious fisherman and leans into the music of a vagabond singer (Kang). But just when viewers become acquainted with the strange surroundings, Su-ji’s own mysterious, unveiled past becomes the subject of inspection — much like how after staring at an Oriental landscape for a while one begins to notice the tiny humans hidden behind trees. For Su-ji, memories of sexual abuse start intruding on her everyday life as the novelty of travel begins to wear off. Here the film takes a voyeuristic look at feminine sexuality, which involves full-frontal nude scenes that are far from erotic. Ok-ryeon enjoys casual dalliances with a police officer (veteran actor Lee Won-jong) in return for his care, and openly breastfeeds her adolescent son. Su-ji on the other hand manipulates men with her passive-aggressive behavior and initiates somewhat inappropriate activities with Sang-guk. In exploring such psychosexual themes, Jeon opts for long shots that ebb and flow like a series of still life photographs, accompanied by the occasional lilting music by Kang. But there is nothing meditative or calm about it; it is decidedly noir, with the sensibilities of both a smart thriller and rambling, drawn-out fantasy. Yet, just as the forsaken ruins emanate hints of run-down charms there are also moments of humor that uplift the solemnity. Moreover, there is a saving grace in Su-ji’s optimistic effort to move on and live. Pink thus becomes more than a place for the traumatized to gather and lick their wounds but a haven where one can fully embrace both the grit and beauty of life. A Mountain Pictures release, “Pink” opens in theaters Oct. 27. It is rated 18 and over, and runs 97 minutes. http://www.koreatimes.co.kr |
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