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Category Archives: film

Korea Blog: A Beloved Children’s Story Turned Psychedelic Rural Reverie, Go Yeong-nam’s The Shower (1978)

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 […]

Korea Blog: The Harrowing Films of Kim Ki-duk (1960-2020)

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 […]

Korea Blog: The Cinematic-Romantic Collaboration of Hong Sangsoo and Kim Min-Hee Evolves in “The Woman Who Ran”

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 […]

Korea Blog: No Sex Please, This Is the Korea of Jang Sun-woo’s The Road to the Race Track (1991)

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 […]

New Yorker: The Best Movies in the Korean Film Archive

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 […]

Korea Blog: Rediscovering Korean Cinema, An Academic Look at the Zombies, Mutants, Criminals, and Prostitutes of South Korea’s Silver Screen

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 […]

Korea Blog: Bong Joon-ho’s Biggest Victory, Accepting His Oscars in Korean

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 […]

Korea Blog: The American Dream Dies in Los Angeles in Bae Chang-Ho’s “Deep Blue Night”

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 […]

Pretty Much Pop podcast: Martin Scorsese the Auteur

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 […]

Korea Blog: The Bitter Korean Neorealism of Yu Hyun-Mok’s “Aimless Bullet”

South Korean films, as even casual foreign viewers come to believe, are meant to critique South Korean society. To the extent that this precept holds true, the country’s most acclaimed films bring its society in for the severest treatment: take Lee Chang-dong’s Burning (버닝), to name a recent example, or Bong Joon-ho’s Parasite (기생충), to name a more recent […]