Now that K-pop, K-drama, and K-beauty have been international phenomena for years, Westerners must prepare themselves for the reign of the K-grandma. I’ve heard that label, or rather its more Korean form K-halmeoni, applied to Youn Yuh-jung, a veteran actress famous here in Korea since the 1970s. Much more recently she’s become a star in the […]
Given the increasingly frequent attempts of late to overhaul the American Young Adult canon, I’m not sure how many kids read Bridge to Terabithia these days. But when I was a grade-schooler in the early 1990s, Katherine Paterson’s 1977 novel of a country boy and city girl who imagine their own fantasy kingdom apart from the adult […]
Kim Ki-duk died last month, and not for the first time. The coronavirus caused his death in reality, whereas his cinematic death occurred nearly a decade ago. It happened in Arirang (아리랑), a film Kim shot alone in a spartan countryside cabin to which he’d exiled himself for the previous three years. In it the filmmaker takes […]
If at all possible, do try to see The Woman Who Ran (도망친 여자), the new picture by Korean auteur and international film-festival habitué Hong Sangsoo, at Seoul’s Emu Cinema. I recommend that particular venue in part because it offers occasional English-subtitled screenings for non-Korean-speakers, but more so because it appears as a major location in the […]
Since the liberalization of international travel in 1989, Koreans abroad have become a more than occasional subject of Korean cinema. My own favorite example remains Hong Sangsoo’s Night and Day (밤과 낮), from 2008, about a boorish artist in Parisian exile from a drug charge. But then, Hong’s films — modestly budgeted, dialogue-heavy, and improvisatory in construction, celebrated at […]
Americans are attuned to Korean film like never before. The awakening came with the dominance of this past year’s Academy Awards by Bong Joon-ho’s “Parasite,” whose four Oscars included not just Best International Feature Film but Best Picture, an unprecedented victory for a non-English-language film. In the past twenty years, critics and film-festival habitués have […]
I live in Korea now in large part because I discovered Korean cinema in college — or rather, because I discovered Korean cinema right after graduating college. Though an avid film-viewer since I was a teenager, I somehow passed all four years at my university without partaking of the DVD selection at its library. Whatever […]
When we cinephiles of a certain age remember our discovery of film, we remember browsing video-store shelves in search of interesting movies to rent. But explaining the facts of that era in the face of disbelief from the young — You mean you couldn’t watch a movie someone else was watching? You had to pay […]
Speeding through the desert in a convertible, blasting “Highway Star” on the radio: as much appeal as that fantasy has held for Americans, it’s held even more for non-Americans. Such a scene opens Deep Blue Night (깊고 푸른 밤), a Korean film shot entirely in the US and intensely, even grimly concerned with the broader notion of […]
I appear on the latest episode of Pretty Much Pop, a podcast curated by Open Culture, to discuss the films of Martin Scorsese. Though prompted by the release last year of Scorsese’s latest feature The Irishman, preparation for the discussion convinced me to launch into a complete re-watch of Scorsese’s filmography. Here’s the official episode description: We consider […]