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Determination To Go Away Film Evaluate: Park Chan-wook's Cannes Noir Is A Profound Take A Glance At The Femme Fatale
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In April 2022, streaming service Mubi acquired the rights to release the movie in North America, the United Kingdom and Ireland, India and Turkey. It was released theatrically within the United States and United Kingdom on 14 October 2022. According to CJ E&M, the film was sold to 192 countries forward of its premiere in competition at Cannes. It held its North American premiere on the Toronto International Film Festival in September 2022, and US premiere at Fantastic Fest Film Festival took place in Austin, Texas from 22 to 29 September.
There’s a bit of a cat-and-mouse recreation going on but in addition a transparent attraction, although nobody’s motives stay clear and Park enjoys the art of the tease as he slips out and in of the non-public and the procedural. The plot, which revolves heavily around apps and phone-screens, requires lots of focus. And in comparison with the powerhouse first hour and crackerjack ending, the middle section occasionally feels baggy.
But it’s still an amazing shot of pure Park — suave, refined and attractive. Not to mention very presumably one of the best erotic cop thriller ever. Like Seo Rae's dress, some folks assume it's green; others see blue. The wallpaper in her house shows patterns of mountain peaks, but upon nearer look, they look like hundreds of waves crashing into one another. The mountain and the sea seem so close, but are always out of every other’s reach. If the sensible love the water and the benevolence the mountains, the lovelorn will at all times select to stay behind in the earth.
As the very married Hae-jun seeks to eliminate the newly widowed Seo-rae as a murder suspect, sly flirtation evolves into a mutual recognition of kindred spirits, which blossoms into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered via an anal-retentive take on Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects homicide. As the police investigate the scene, Park mounts a formalist show that must be the envy of even that master of cinematic homicide investigations, David Fincher.
In one of the film’s many evocative pictures, Park emphasizes flashlights piercing the darkness of woods as seen from a bird’s-eye view, suggesting that the urge to discern the truth is sinister and futile. Following the grisly demise of her husband, Seo-rae (Tang-Wei) fails to indicate the everyday indicators of grief, prompting crackerjack investigator Hae-joon (Park Hae-il) to think about her a suspect within the man’s homicide. Over the course of a collection of stakeouts and interrogations, Hae-joon is more and more drawn to his magnetic, mysterious goal.
"And I guess there's the similarity of actor Park Hae-il additionally having acted in director Bong's films ('Memories of Murder' and 'The Host')." "Decision" (now in theaters in New York and Los Angeles; expands nationwide throughout October) begins with a devoted longtime cop named Hae-jun (Park Hae-il) as he investigates a businessman's deadly fall from a mountaintop. The man's elusive widow, Seo-rae , is called in for questioning and exhibits little emotion about her husband's death, even laughing in the course of the police interrogation. But he has the last word excuse to spend time along with her — he’s investigating her for homicide. Not the most romantic of conditions, but certainly effective. A police investigation does not exactly make for meet-cute moments, but Park has a method of wringing drama and import out of simply about something; when Hae-joon questions Seo-rae in a police examination room after which sends out for sushi, it performs like a very odd first date.
But as he digs deeper into the investigation, he finds himself trapped in an internet of deception and need. That feeling kicks in at around the four-minute mark, when Hae-jun (Park Hae-il), a Busan police detective, arrives at the foot of a mountain peak to look at the physique of a person who has fallen to his demise. The exacting methods of Hae-jun’s investigative strategies mirror Park’s formal ones, as Decision to Leave unfolds with the meticulous care and playfulness of a director in full management of his talents. The lifeless man, a retired immigration officer, has a younger wife, Seo-rae , whose look at the morgue to determine her husband’s physique lights the spark of an obsessive love, igniting an incredibly tangled fuse.
Wrapped in the investigation of the unusual death, Hae-joon’s interest within the girl quickly transcends the professional as he turns into enamored with the main suspect. Focusing just on character does a disservice to how a lot of a visible feast Decision to Leave is. From starting to finish, you’re reminded of the unparalleled dynamism that fills the director’s work; with impactful sound design, attractive framing, and genius edits (just as it’s mentioned how blowflies lay eggs on cadavers, we reduce to Hae-joon cracking an egg right into a pan). Decision to Leave may not be as flashy or luxurious as a few of his other work, however in his first collaboration with cinematographer Kim Ji-yong, there’s plenty of sweeping monitoring shots, severe pans and unimaginable views (from a useless man’s eyes or beneath a morgue sheet) to pore over. Park Hae-il is terrific as lead character Hae-joon, an investigator whose face droops with weariness and paperwork-induced ennui.
There’s one other mystery that’s thrust into Hae-jun’s life and it forces him to rethink each decision he made in the first case and what issues to him now. Park plays with elements of not just noir but the old style romance films that Seo-rae likes to watch. He principally sets these characters up, defining them within the first half, after which bounces them off each other in surprising methods within the second half, ultimately leading to a rewarding thriller even if it lacks the sharp edges we’ve come to anticipate from Park. Decision to Leave stokes admiration for the inventiveness of a cross-fade, yet fosters our profound apathy towards fundamentals like the id of a assassin or the stirrings of the forbidden lovers.
A prepared submission to let go and belief a film to advance and lay bare its cumulative rewards. And there is no higher instance of this experience than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a wife that he only sees on weekends, and before lengthy Seo-rae becomes his companion the the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of interest to an object of obsession. This is all laid out in a tour de pressure of intricate filmmaking lengthy on temper and drama and slippery adjustments of course. For Hae-jun, the ache comes in the means in which thoughts of Seo-rae crowd into his mind unbidden, even whereas he is making love to his wife.
Evaluation: Romance, Mystery In Park Chan-wooks Korean Noir Determination To Depart Datebook
The atmosphere of Park's neo-noir melodrama is clouded by a brain fog during which it's troublesome to concentrate and make decisions. Park Chan-wook can say a lot about his characters and story by simply setting a desk. Decision to Leave, Chan-wook’s first movie since 2016’s The Handmaiden, is each a romance and a police procedural, as detective Hae-joon (Park Hae-il) investigates the murder of a man who died on a mountaintop. Hae-joon suspects the man’s spouse, Seo-rae may need one thing to do along with her husband’s death, and so he brings her in for questioning. Because a big portion of the story is a psychological thriller, Decision to Leave is talky by necessity however Park uses a massive number of partaking techniques to maintain the visuals surprising and kinetic. From a bonkers Steadicam foot race between Hae-joon and a theft suspect, to the skillful use of transitions when he’s staking out her residence, or the slick use of on-screen textual content messaging between characters, there’s delicate however constant motion.
The lead investigator, the sleep-challenged Hae-joon (Park Hae-il), is instantly and conspicuously drawn to her. By contrast, the other detective, Soo-wan (Go Kyung-pyo), the man with the electrical massager, is more leery, harshly noting that she doesn’t appear particularly upset by her husband’s demise. Hae-joon replies that his wife wouldn’t be both, a revelatory remark a few man who proves extra sophisticated than he seems. It's close to impossible to observe Decision To Leave with out reminiscences of Basic Instinct ice-picking their way into your thoughts. The film may be set in misty South Korea as an alternative of foggy San Francisco, however current and correct is a rumpled, obsessive police detective, plus an enigmatic, mesmerising feminine suspect who might just be kill-crazy.
As Hae-Joon snaps photographs of the corpse together with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies damaged vision while suggesting that the macabre jokester that helmed Oldboy hasn’t left the constructing. It seems odd that murder proof can be gathered on a personal phone, as it appears to be a readymade method to compromise an investigation, and Park needs you to note the strangeness of such details, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent within the custom of Law & Order cops, but distractible and ripe for manipulation within the mildew of J.J. Park Hae-il is riveting as a storied detective knocked back on his heels by love, whereas his overzealous protege serves as a buzzing comedian aid. But Tang Wei dazzles as a girl who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they converse, it's with an intimacy so profound that it feels like we're eavesdropping.
And there isn't any better instance of this experience than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a wife that he only sees on weekends, and earlier than long Seo-rae turns into his companion the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of curiosity to an object of obsession. This is all laid out in a tour de drive of intricate filmmaking lengthy on mood and drama and slippery changes of path. Am an enormous fan of Chan-wook’s movies, however obtained a sinking feeling half-way by way of, that we have been in a cluttered, inchoate territory, and the experience was becoming more and more, considerably bafflingly, less-than-satisfying.
The Director knows how create low cost jokes that could be confused for wittiness or boldness, but then one realizes that they solely had been thrown in and do not really help carry the story. Hae-jun’ Decision to Leave movie suspects Seo-rae; Hae-jun himself is fast to defend her. It was in all probability an accident or maybe even a suicide, right? And Hae-jun will get drawn into extra than just the case as he surveils Seo-rae and becomes obsessed with her quirks. As he crosses the skilled line to learn more about Hae-jun, he begins to make mistakes, and Park cleverly embeds focus issues into his story, whether it’s the morning fog of Ipo or the attention drops that Hae-jun has to make use of to clear up his blurred imaginative and prescient. I do not get why this film scores larger than Park's old boy and the handmaiden.
And even though the movie as a complete might unravel more on subsequent viewings, it is suffice to say for now that Park Chan-wook's newest is type of an underwhelming dud. There are no featured viewers reviews for Decision to Leave at this time. Decision to Leave screened on the Cannes film pageant and is released on 21 October in cinemas. It’s all fantastically shot, with a gliding camera that may abruptly pans in on its characters as if looking out their faces for clues. Eyes are a recurring motif here – this is a movie partly about trying and about seeing what we want to see, rather than what’s there – and one shot even friends up at Seo-rae and Hae-joon through the eyeball of a fish on a market stall.
However, it doesn’t temper how assured, memorable, and eloquent Decision to Leave is. And simply if you think the story has revealed itself, Chan-wook introduces a turn that reframes every thing we think we all know in regards to the characters and then puts them on a new path that carries the movie into unexpected territory. The change solely amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love vitality that’s simply as riveting and swoony.
Meek, beatific Seo-rae does not seem like a killer; behind her lengthy lashes lies the angel face of a revered eldercare worker. But beneath her conservative clothing lies bruises, and with them the motive of a battered wife who might have had sufficient. But did she have the opportunity to scale a mountain and push her lout of a husband off of it?
On the one hand, he does not want her to be the murderer, but on the opposite hand, he would not need the case to be closed. Tang Wei, of Ang Lee’s Lust, Caution , is allowed extra room to play in the film’s first hour, outfitted with a captivating backstory allowing for a pseudo language barrier which seems to make her all the extra tantalizing and perhaps exotic to Hae-joon. This energy evaporates afterward as motivations turn out to be much less logical and the plot’s coherency overwhelms its humans. Park Hae-il, of Bong Joon-ho’s Memories of Murder and The Host , excels at taking part in the quaint Hae-joon, and he shares a palpable chemistry with all of the characters, which is why Lee Jung-hyun usually appears more attention-grabbing as his whip-smart wife.
The fact that a good, well-made thriller feels nearly like a disappointment given this creator’s pedigree is only a testament to the work he’s produced before. Communication is thus clouded not simply between characters but additionally the movie's narration and the spectator. Both Park's fashion and narration obfuscate the sense of house and time. The complex plot is informed in a quick pace, and narration keeps leaping back-and-forth between scenes, lots of which have been executed with unprecedented innovation. For only one example, there is a scene the place Park is in a position to combine Hae-jun in bed with his spouse, him observing mould on the nook of their wall, Seo-rae watching a Korean soap opera, and x-ray pictures associated to the crime.
There’s a bit of a cat-and-mouse recreation going on but in addition a transparent attraction, although nobody’s motives stay clear and Park enjoys the art of the tease as he slips out and in of the non-public and the procedural. The plot, which revolves heavily around apps and phone-screens, requires lots of focus. And in comparison with the powerhouse first hour and crackerjack ending, the middle section occasionally feels baggy.
Transforming The Way Individuals See The World, Via Movie
But it’s still an amazing shot of pure Park — suave, refined and attractive. Not to mention very presumably one of the best erotic cop thriller ever. Like Seo Rae's dress, some folks assume it's green; others see blue. The wallpaper in her house shows patterns of mountain peaks, but upon nearer look, they look like hundreds of waves crashing into one another. The mountain and the sea seem so close, but are always out of every other’s reach. If the sensible love the water and the benevolence the mountains, the lovelorn will at all times select to stay behind in the earth.
As the very married Hae-jun seeks to eliminate the newly widowed Seo-rae as a murder suspect, sly flirtation evolves into a mutual recognition of kindred spirits, which blossoms into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered via an anal-retentive take on Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects homicide. As the police investigate the scene, Park mounts a formalist show that must be the envy of even that master of cinematic homicide investigations, David Fincher.
In one of the film’s many evocative pictures, Park emphasizes flashlights piercing the darkness of woods as seen from a bird’s-eye view, suggesting that the urge to discern the truth is sinister and futile. Following the grisly demise of her husband, Seo-rae (Tang-Wei) fails to indicate the everyday indicators of grief, prompting crackerjack investigator Hae-joon (Park Hae-il) to think about her a suspect within the man’s homicide. Over the course of a collection of stakeouts and interrogations, Hae-joon is more and more drawn to his magnetic, mysterious goal.
"And I guess there's the similarity of actor Park Hae-il additionally having acted in director Bong's films ('Memories of Murder' and 'The Host')." "Decision" (now in theaters in New York and Los Angeles; expands nationwide throughout October) begins with a devoted longtime cop named Hae-jun (Park Hae-il) as he investigates a businessman's deadly fall from a mountaintop. The man's elusive widow, Seo-rae , is called in for questioning and exhibits little emotion about her husband's death, even laughing in the course of the police interrogation. But he has the last word excuse to spend time along with her — he’s investigating her for homicide. Not the most romantic of conditions, but certainly effective. A police investigation does not exactly make for meet-cute moments, but Park has a method of wringing drama and import out of simply about something; when Hae-joon questions Seo-rae in a police examination room after which sends out for sushi, it performs like a very odd first date.
But as he digs deeper into the investigation, he finds himself trapped in an internet of deception and need. That feeling kicks in at around the four-minute mark, when Hae-jun (Park Hae-il), a Busan police detective, arrives at the foot of a mountain peak to look at the physique of a person who has fallen to his demise. The exacting methods of Hae-jun’s investigative strategies mirror Park’s formal ones, as Decision to Leave unfolds with the meticulous care and playfulness of a director in full management of his talents. The lifeless man, a retired immigration officer, has a younger wife, Seo-rae , whose look at the morgue to determine her husband’s physique lights the spark of an obsessive love, igniting an incredibly tangled fuse.
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Wrapped in the investigation of the unusual death, Hae-joon’s interest within the girl quickly transcends the professional as he turns into enamored with the main suspect. Focusing just on character does a disservice to how a lot of a visible feast Decision to Leave is. From starting to finish, you’re reminded of the unparalleled dynamism that fills the director’s work; with impactful sound design, attractive framing, and genius edits (just as it’s mentioned how blowflies lay eggs on cadavers, we reduce to Hae-joon cracking an egg right into a pan). Decision to Leave may not be as flashy or luxurious as a few of his other work, however in his first collaboration with cinematographer Kim Ji-yong, there’s plenty of sweeping monitoring shots, severe pans and unimaginable views (from a useless man’s eyes or beneath a morgue sheet) to pore over. Park Hae-il is terrific as lead character Hae-joon, an investigator whose face droops with weariness and paperwork-induced ennui.
There’s one other mystery that’s thrust into Hae-jun’s life and it forces him to rethink each decision he made in the first case and what issues to him now. Park plays with elements of not just noir but the old style romance films that Seo-rae likes to watch. He principally sets these characters up, defining them within the first half, after which bounces them off each other in surprising methods within the second half, ultimately leading to a rewarding thriller even if it lacks the sharp edges we’ve come to anticipate from Park. Decision to Leave stokes admiration for the inventiveness of a cross-fade, yet fosters our profound apathy towards fundamentals like the id of a assassin or the stirrings of the forbidden lovers.
A prepared submission to let go and belief a film to advance and lay bare its cumulative rewards. And there is no higher instance of this experience than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a wife that he only sees on weekends, and before lengthy Seo-rae becomes his companion the the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of interest to an object of obsession. This is all laid out in a tour de pressure of intricate filmmaking lengthy on temper and drama and slippery adjustments of course. For Hae-jun, the ache comes in the means in which thoughts of Seo-rae crowd into his mind unbidden, even whereas he is making love to his wife.
Evaluation: Romance, Mystery In Park Chan-wooks Korean Noir Determination To Depart Datebook
The atmosphere of Park's neo-noir melodrama is clouded by a brain fog during which it's troublesome to concentrate and make decisions. Park Chan-wook can say a lot about his characters and story by simply setting a desk. Decision to Leave, Chan-wook’s first movie since 2016’s The Handmaiden, is each a romance and a police procedural, as detective Hae-joon (Park Hae-il) investigates the murder of a man who died on a mountaintop. Hae-joon suspects the man’s spouse, Seo-rae may need one thing to do along with her husband’s death, and so he brings her in for questioning. Because a big portion of the story is a psychological thriller, Decision to Leave is talky by necessity however Park uses a massive number of partaking techniques to maintain the visuals surprising and kinetic. From a bonkers Steadicam foot race between Hae-joon and a theft suspect, to the skillful use of transitions when he’s staking out her residence, or the slick use of on-screen textual content messaging between characters, there’s delicate however constant motion.
The lead investigator, the sleep-challenged Hae-joon (Park Hae-il), is instantly and conspicuously drawn to her. By contrast, the other detective, Soo-wan (Go Kyung-pyo), the man with the electrical massager, is more leery, harshly noting that she doesn’t appear particularly upset by her husband’s demise. Hae-joon replies that his wife wouldn’t be both, a revelatory remark a few man who proves extra sophisticated than he seems. It's close to impossible to observe Decision To Leave with out reminiscences of Basic Instinct ice-picking their way into your thoughts. The film may be set in misty South Korea as an alternative of foggy San Francisco, however current and correct is a rumpled, obsessive police detective, plus an enigmatic, mesmerising feminine suspect who might just be kill-crazy.
As Hae-Joon snaps photographs of the corpse together with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies damaged vision while suggesting that the macabre jokester that helmed Oldboy hasn’t left the constructing. It seems odd that murder proof can be gathered on a personal phone, as it appears to be a readymade method to compromise an investigation, and Park needs you to note the strangeness of such details, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent within the custom of Law & Order cops, but distractible and ripe for manipulation within the mildew of J.J. Park Hae-il is riveting as a storied detective knocked back on his heels by love, whereas his overzealous protege serves as a buzzing comedian aid. But Tang Wei dazzles as a girl who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they converse, it's with an intimacy so profound that it feels like we're eavesdropping.
And there isn't any better instance of this experience than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a wife that he only sees on weekends, and earlier than long Seo-rae turns into his companion the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of curiosity to an object of obsession. This is all laid out in a tour de drive of intricate filmmaking lengthy on mood and drama and slippery changes of path. Am an enormous fan of Chan-wook’s movies, however obtained a sinking feeling half-way by way of, that we have been in a cluttered, inchoate territory, and the experience was becoming more and more, considerably bafflingly, less-than-satisfying.
The Director knows how create low cost jokes that could be confused for wittiness or boldness, but then one realizes that they solely had been thrown in and do not really help carry the story. Hae-jun’ Decision to Leave movie suspects Seo-rae; Hae-jun himself is fast to defend her. It was in all probability an accident or maybe even a suicide, right? And Hae-jun will get drawn into extra than just the case as he surveils Seo-rae and becomes obsessed with her quirks. As he crosses the skilled line to learn more about Hae-jun, he begins to make mistakes, and Park cleverly embeds focus issues into his story, whether it’s the morning fog of Ipo or the attention drops that Hae-jun has to make use of to clear up his blurred imaginative and prescient. I do not get why this film scores larger than Park's old boy and the handmaiden.
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And even though the movie as a complete might unravel more on subsequent viewings, it is suffice to say for now that Park Chan-wook's newest is type of an underwhelming dud. There are no featured viewers reviews for Decision to Leave at this time. Decision to Leave screened on the Cannes film pageant and is released on 21 October in cinemas. It’s all fantastically shot, with a gliding camera that may abruptly pans in on its characters as if looking out their faces for clues. Eyes are a recurring motif here – this is a movie partly about trying and about seeing what we want to see, rather than what’s there – and one shot even friends up at Seo-rae and Hae-joon through the eyeball of a fish on a market stall.
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However, it doesn’t temper how assured, memorable, and eloquent Decision to Leave is. And simply if you think the story has revealed itself, Chan-wook introduces a turn that reframes every thing we think we all know in regards to the characters and then puts them on a new path that carries the movie into unexpected territory. The change solely amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure major In the Mood for Love vitality that’s simply as riveting and swoony.
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Meek, beatific Seo-rae does not seem like a killer; behind her lengthy lashes lies the angel face of a revered eldercare worker. But beneath her conservative clothing lies bruises, and with them the motive of a battered wife who might have had sufficient. But did she have the opportunity to scale a mountain and push her lout of a husband off of it?
On the one hand, he does not want her to be the murderer, but on the opposite hand, he would not need the case to be closed. Tang Wei, of Ang Lee’s Lust, Caution , is allowed extra room to play in the film’s first hour, outfitted with a captivating backstory allowing for a pseudo language barrier which seems to make her all the extra tantalizing and perhaps exotic to Hae-joon. This energy evaporates afterward as motivations turn out to be much less logical and the plot’s coherency overwhelms its humans. Park Hae-il, of Bong Joon-ho’s Memories of Murder and The Host , excels at taking part in the quaint Hae-joon, and he shares a palpable chemistry with all of the characters, which is why Lee Jung-hyun usually appears more attention-grabbing as his whip-smart wife.
The fact that a good, well-made thriller feels nearly like a disappointment given this creator’s pedigree is only a testament to the work he’s produced before. Communication is thus clouded not simply between characters but additionally the movie's narration and the spectator. Both Park's fashion and narration obfuscate the sense of house and time. The complex plot is informed in a quick pace, and narration keeps leaping back-and-forth between scenes, lots of which have been executed with unprecedented innovation. For only one example, there is a scene the place Park is in a position to combine Hae-jun in bed with his spouse, him observing mould on the nook of their wall, Seo-rae watching a Korean soap opera, and x-ray pictures associated to the crime.
