Bong Joon-Ho brought excitement to Cannes

Bong Joon-Ho brought excitement to Cannes

Bong Joon-Ho, one of the most important directors of the Korean New Wave, is an entertainer of genre cinema. Here, it is almost a technological family land comedy. In the asite parasite başlayan process, we witness the ‘fourth wall bize being activated in the background or screens. This inevitably gives birth to a sister film, “Vavien” (2009) and Aşırı The Extreme Pathetic Story of Celal Tan and Her Family 2011 (2011), which does not necessarily waste its energy. The goal is to make the conflict between the rich class and the poor class technological.

Asite Parasite peş is in search of what is going on below what is happening. It transfers the problem of ‘privacy’ caused by Korea's real estate and economic crisis to a fusion structure with ‘fear’, ‘epidemic’, ‘disaster’, and ’virtual reality’ motifs. The director's “Mother ((“ Madeo ”, 2009) shifts to a relative approach. We observe that little blood, plenty of humor, but no accessories or fiction cuts are empty, and the family's institution is positioned as a ‘glass sphere’.

When the parasite of everything moves, we face impressive moments. Bong Joon-Ho continues to guarantee its unique place in South Korean cinema. He's holding the family organization on the ball while proving it here. While the mad work has the chance to sign a black comedy, it guarantees ‘madness te in the imbalance between private and intimate life.

The story of Günlük Murder Diaries ((“Salinui Chueok 2003, 2003) adds to the story of freshness and energy that finishes work without confronting wasted humor.

He puts the craziness or degeneration of a family almost as a representative of Ozu's android generation. In this respect, permanent frames, moments and scenes leave behind. Asite Parasite tır will always be mentioned in a special place in the director's career. Entering the last level at the festival

It can be said that the Noémie Merlant-Adele Haenel duo initiated a feminist cry supported by Luana Bajrami and the quota of experience, Valeria Golino. In this context, the purpose of the film emerges. Although it may seem like the “3 Women 197 of the 18th century, 1977

Claire Mathon's image management supports realism with little stylized lights. Jane puts forth a language effort close to Campion. Obviously, the lengthening of the film to 120 minutes created a ’rhythm’ problem. For the first 75 minutes, we watch a duo trying to surprise each other in a tempo. But we can more or less predict the background results. 75.-120. and between minutes, the concept of ‘dreaming woman iyor becomes logical. Sciamma is definitely an important director. Here, he uses the model of “Portrait of Jennie tarihli (Kadın Dream Woman Kadın), which has become a‘ fantastic love movie ’classic by flowing through the eyes of a man who falls in love with the woman he painted in 1948. There Leonardo Bercovici’s novel

There are still those who follow his path. In “Portrait of a Lady on Fire bir there is a structure that alternates between simple colors and surrealistic scenes at a distance. Sciamma is in pursuit of the aslında fascinating aslında without exaggerating anything. This is how the successor or brother of the B Dream Woman LG descends from the LGBTI + lineage. In the end, the film has Jane Campion style, influential moments, with the touch of its director, but it doesn't turn into the best Sciamma with its length.

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