Choice To Depart
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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 launched theatrically in the United States and United Kingdom on 14 October 2022. According to CJ E&M, the movie was offered to 192 countries ahead 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.
Watching this you possibly can instantly see why he won Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, this may be a cinephile’s dream movie and might be talked about in movie courses all over the place. It’s Park’s first movie in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it puts him proper back the place he left off, as a outstanding visible stylist who doesn’t always know when to stop but all the time is conscious of tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new movie, “Decision to Leave,” as a half of Cannes’ major competition.
But it’s nonetheless a tremendous shot of pure Park — suave, sophisticated and horny. Not to say very possibly one of the best erotic cop thriller ever. Like Seo Rae's dress, some people assume it's green; others see blue. The wallpaper in her residence reveals patterns of mountain peaks, however upon nearer look, they appear to be thousands of waves crashing into one another. The mountain and the sea appear so close, yet are all the time out of every other’s reach. If the clever love the water and the benevolence the mountains, the lovelorn will at all times choose to remain behind within the earth.
As the very married Hae-jun seeks to remove the newly widowed Seo-rae as a murder suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms right 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 tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his death 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 present that should be the envy of even that master of cinematic homicide investigations, David Fincher.
Throughout, one often feels the plot working towards Park’s poetry, although in a few cases poetry wins out, particularly during a beachside disappearance that, rife with gurgling waves and inchoate agony, suggests the climax of Robert Altman’s The Long Goodbye. Here, a close-up of a hand closing, sealing its fate, is heartbreakingly stunning. It’s a pity that we barely know why the proprietor of this hand is compelled to die to begin with. An early interrogation scene embodies all that’s proper and incorrect with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to every element that doesn’t immediately matter to his story.
But it sticks the landing completely, with a resounding resolution that hammers home the emotional throughline of the story. This is a movie about two individuals deeply uncomfortable with their place in the trendy world, who via one another have needed to grapple with each meanings to the act of leaving; what happens once we go away somebody, and what of ourselves we go away behind. Hae-joon is drawn to Seo-rae because he notes she has a “classical” vibe, and she herself comments on what sets him aside from different trendy people. In a world that feels suffocating and passionless, something as old style as a detective-suspect affair has an plain attraction. When a hiker falls from atop a mountain, fingers start pointing to the corpse’s Chinese spouse, Seo-rae .
Stuck in an affectionate marriage that bores him, Hae-Joon is vulnerable and given to shortcuts; an insomniac and possibly a depressive, he’s never entirely awake or asleep. Hae-Joon is definitely prone to Seo-rae , the mountain climber’s widow and prime homicide suspect. Seo-rae is a Chinese immigrant who married an older South Korean man working within the restrictive immigration department, which is to say that she has a history of flattering males for personal acquire.
The unorthodox relationship in this movie is doubtlessly the one we’re most acquainted with—an intimacy between a male detective and his feminine suspect. Hae-joon (Park Hae-il, who had a supporting role in Bong Joon-ho’s masterful procedural Memories of Murder) is a workaholic insomniac, a detective with a punishing commute and a clinical-feeling marriage. Park Chan-wook’s movies often give consideration to outsiders to regular society, those trapped inside restrictive roles and consumed with singular, destructive ideals. But what makes his work so reliably transcendent are the unorthodox relationships that appear between the individuals who recognise their very own alienation in others. The plot is so pointlessly difficult that one can not often savor the characters or luxuriate within the atmosphere, as Park supersizes all of the most interminable qualities of a typical procedural. Park Chan-wook believes all his movies are romances at coronary heart, but he intentionally leans into rom-com tropes with "Decision." Like many lonely rom-com heroines we've seen before, Seo-rae falls asleep in entrance of her TV with a pint of ice cream every evening.
In Decision to Leave full movie , the twists and sleights of hand intensified our complicity with the characters, while Decision to Leave closes the door on us, drowning us in paperwork. There’s also a reference in this scene to spousal abuse, which issues most for a shot of an X-ray of an arm that’s rhymed with a close-up of Hae-Joon’s arm in bed in a while, as he rhapsodizes over Seo-rae. Viewers will recall this image later in Decision to Leave, when it’s reprised once more to symbolize the hallucinatory demise of a pivotal character. The interrogation scene is loaded with formalist bravado and thematic resonance, but it’s so busy that it doesn’t work up even rudimentary curiosity about Seo-rae’s role within the crime at hand. Forget Vertigo, as a end result of at a certain point one could long for a easy pleasure like Paul Verhoeven’s Basic Instinct, a formally astonishing rendition of a trashy script that has enough momentum for 10 thrillers, even when its mystery makes no extra sense than the one offered right here.
We serve Chicago’s numerous and under-served citizenry by offering entry to world-class cinema. We aim to complement Chicago’s cultural surroundings by presenting film in contexts that encourage discussion and debate. Become a MemberMembers receive special benefits like advanced ticket gross sales and invitations to exclusive events. Get details on the most-anticipated films headed to theaters in October,...
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So does the truth that Seo-rae, a Chinese immigrant, speaks limited Korean, one thing Hae-joon accommodates by explaining guidelines and procedures as merely as attainable. At first look — and it rewards several glances — “Decision to Leave” seems to inform the story of a police detective and the gorgeous woman who upends his boring, well-ordered existence. It’s a story of inconceivable longing, the kind that may undo a wedding, wreck a career and ship ordinary people spiraling into an all-consuming obsession.
Hae-joon’s suspicion isn’t assisted by the very fact she euthanized her mom, which is why she can never return to her homeland. Eventually, her husband’s case is closed just in time for extra condemning proof to be revealed. The mutual attraction between suspect and investigator is quelled by Hae-joon transferring to Ipo. But Sea-rae arrives a yr later, this time with a model new husband with nefarious connections.
Park’s films, whether or not they are his propulsive and violent “Vengeance Trilogy” of “Sympathy for Mr. Vengeance,” “Oldboy” and “Lady Vengeance” or the statelier and sultrier “The Handmaiden,” are nothing if not stylish. He’s one of the most accomplish visible stylists in worldwide cinema, managing to make even essentially the most prosaic locations in “Decision to Leave” – a police station, a parked automobile – look alluring and dramatic. Park Chan-wook’s newest, about a forlorn detective falling for his beautiful suspect, is an exuberant, destabilizing tackle a classic film noir setup. A have a look at Decision to Leave, a middling but watchable movie from the legendary grasp Park Chan-wook – a cop/criminal love story that falters but occasionally fascinates. Decision to Leave stokes admiration for the inventiveness of a cross-fade, yet fosters our profound apathy toward fundamentals just like the id of a assassin or the stirrings of the forbidden lovers.
When Park gets to the haunting climax, it is heart-breaking -- as in the best noir tradition. I don't thoughts the gradual pacing, but the fashion felt inconsistent. The shifting fashion of quirky, to comedy, to neo noir, to romantic was off putting to me and felt like Park was attempting to do too much.
But, as with his previous THE HANDMAIDEN, Park reloads proper as the movie seems to be winding down. It was not dangerous but it was not at the stage of park chan woak it solely had nice performing and great cinematography and great music however the plot was not good and it was not even a thriller movie the ending was good however not the most effective . Finally i recommend you to watch it as a outcome of it's from park chan woak however korean motion pictures in these later 2 years are not good so it is the best among these. The good news is I suppose that you do not have to understand 100% of the plot to understand the essence of the film. The essence is that the film is a mixture of crime and romance, a detective falling in love with his suspect. Although "Decision to Leave" treads on familiar terrain for Park, as a film about love and obsession, I must say that I loved it more than any other film from him.
And despite the actual fact that the movie as a complete could unravel extra on subsequent viewings, it is suffice to say for now that Park Chan-wook's newest is kind of an underwhelming dud. There are not any featured audience evaluations for Decision to Leave at this time. Decision to Leave screened at the Cannes movie festival and is launched on 21 October in cinemas. It’s all beautifully shot, with a gliding digicam that will abruptly pans in on its characters as if looking out their faces for clues. Eyes are a recurring motif here – it is a movie partly about looking 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 via the eyeball of a fish on a market stall.
Park Hae-il's hangdog detective may be a pleasure to comply with round, but Wei is the center and soul of the film. Radiant and yet broken, the beautiful Seo-rae is intelligent and sly, but in the end melancholic along with her tragic backstory and troublesome future, continually caught up within the machinations of males on either side of the law. Park's good framing and the stainless cinematography from Kim Ji-yong mix to make each scene stunning, even when some are easy. The modifying from Kim Sang-bum, a frequent collaborator with the director, adds wit and pleasure to what otherwise could've been a a lot more easy romantic thriller. Park has a means of constructing linear narratives feel nonlinear, modifying scenes in stunning methods and chopping virtually arbitrarily.
Meek, beatific Seo-rae would not appear to be a killer; behind her lengthy lashes lies the angel face of a revered eldercare employee. But beneath her conservative clothes lies bruises, and with them the motive of a battered wife who may have had sufficient. But did she have the opportunity to scale a mountain and push her lout of a husband off of it?
In the top, the spectator is -- identical to Hae-jun -- left incapable of getting the ultimate verdict on Seo-rae, this ephemeral character in the foggy panorama. For Hae-jun, the pain is available in the best way thoughts of Seo-rae crowd into his mind unbidden, even whereas he is making love to his wife. And then there’s the growing suspicion that this mercurial, good lady, who seems to have as eager an intuition for felony psychology as he does, might be toying with him; that the unintentional death of her husband will not be what it initially appeared. “Decision to Leave,” which won Park a directing prize at Cannes and can characterize South Korea within the Oscars’ worldwide feature race, is a movie of subtler, extra luxuriant pleasures. Compared with that unfortunate octopus, the sushi here is both ethically sourced and exquisitely plated. And as the movie’s inextricably sure leads, Hae-joon (Park Hae-il) and Seo-rae , take pleasure in their meal in straightforward, companionable silence, you’d be forgiven for assuming they were lovers or spouses, rather than a murder detective and his prime suspect.
The youngest officer ever to turn out to be an investigator within the historical past of his department, he’s perceived as something of a hotshot, allowing him flexibility. He’s drawn into her matter-of-factness, investing himself, perhaps greater than usual, in her surveillance. Comfortably married to his wife (Lee Jung-hyun), who he only sees on the weekends as their home in Ipo is too far from Busan, Hae-joon has on a daily basis he must nurse an obsession. His partner (Go Kyung-pyo), is more suspicious of the woman, partially as a result of Hae-joon’s preferential remedy of her, which eclipses the attention they also have to dedicate to a different long-gestating investigation. Seo-rae’s background is equally mysterious, a Chinese nationwide whose grandfather from Manchuria was awarded citizenship due to his service for Korea, allowed her to stay in the country when she illegally migrated.
Watching this you possibly can instantly see why he won Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, this may be a cinephile’s dream movie and might be talked about in movie courses all over the place. It’s Park’s first movie in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it puts him proper back the place he left off, as a outstanding visible stylist who doesn’t always know when to stop but all the time is conscious of tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new movie, “Decision to Leave,” as a half of Cannes’ major competition.
Decision To Depart (
But it’s nonetheless a tremendous shot of pure Park — suave, sophisticated and horny. Not to say very possibly one of the best erotic cop thriller ever. Like Seo Rae's dress, some people assume it's green; others see blue. The wallpaper in her residence reveals patterns of mountain peaks, however upon nearer look, they appear to be thousands of waves crashing into one another. The mountain and the sea appear so close, yet are all the time out of every other’s reach. If the clever love the water and the benevolence the mountains, the lovelorn will at all times choose to remain behind within the earth.
As the very married Hae-jun seeks to remove the newly widowed Seo-rae as a murder suspect, sly flirtation evolves right into a mutual recognition of kindred spirits, which blossoms right 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 tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his death 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 present that should be the envy of even that master of cinematic homicide investigations, David Fincher.
Throughout, one often feels the plot working towards Park’s poetry, although in a few cases poetry wins out, particularly during a beachside disappearance that, rife with gurgling waves and inchoate agony, suggests the climax of Robert Altman’s The Long Goodbye. Here, a close-up of a hand closing, sealing its fate, is heartbreakingly stunning. It’s a pity that we barely know why the proprietor of this hand is compelled to die to begin with. An early interrogation scene embodies all that’s proper and incorrect with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to every element that doesn’t immediately matter to his story.
But it sticks the landing completely, with a resounding resolution that hammers home the emotional throughline of the story. This is a movie about two individuals deeply uncomfortable with their place in the trendy world, who via one another have needed to grapple with each meanings to the act of leaving; what happens once we go away somebody, and what of ourselves we go away behind. Hae-joon is drawn to Seo-rae because he notes she has a “classical” vibe, and she herself comments on what sets him aside from different trendy people. In a world that feels suffocating and passionless, something as old style as a detective-suspect affair has an plain attraction. When a hiker falls from atop a mountain, fingers start pointing to the corpse’s Chinese spouse, Seo-rae .
Stuck in an affectionate marriage that bores him, Hae-Joon is vulnerable and given to shortcuts; an insomniac and possibly a depressive, he’s never entirely awake or asleep. Hae-Joon is definitely prone to Seo-rae , the mountain climber’s widow and prime homicide suspect. Seo-rae is a Chinese immigrant who married an older South Korean man working within the restrictive immigration department, which is to say that she has a history of flattering males for personal acquire.
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The unorthodox relationship in this movie is doubtlessly the one we’re most acquainted with—an intimacy between a male detective and his feminine suspect. Hae-joon (Park Hae-il, who had a supporting role in Bong Joon-ho’s masterful procedural Memories of Murder) is a workaholic insomniac, a detective with a punishing commute and a clinical-feeling marriage. Park Chan-wook’s movies often give consideration to outsiders to regular society, those trapped inside restrictive roles and consumed with singular, destructive ideals. But what makes his work so reliably transcendent are the unorthodox relationships that appear between the individuals who recognise their very own alienation in others. The plot is so pointlessly difficult that one can not often savor the characters or luxuriate within the atmosphere, as Park supersizes all of the most interminable qualities of a typical procedural. Park Chan-wook believes all his movies are romances at coronary heart, but he intentionally leans into rom-com tropes with "Decision." Like many lonely rom-com heroines we've seen before, Seo-rae falls asleep in entrance of her TV with a pint of ice cream every evening.
In Decision to Leave full movie , the twists and sleights of hand intensified our complicity with the characters, while Decision to Leave closes the door on us, drowning us in paperwork. There’s also a reference in this scene to spousal abuse, which issues most for a shot of an X-ray of an arm that’s rhymed with a close-up of Hae-Joon’s arm in bed in a while, as he rhapsodizes over Seo-rae. Viewers will recall this image later in Decision to Leave, when it’s reprised once more to symbolize the hallucinatory demise of a pivotal character. The interrogation scene is loaded with formalist bravado and thematic resonance, but it’s so busy that it doesn’t work up even rudimentary curiosity about Seo-rae’s role within the crime at hand. Forget Vertigo, as a end result of at a certain point one could long for a easy pleasure like Paul Verhoeven’s Basic Instinct, a formally astonishing rendition of a trashy script that has enough momentum for 10 thrillers, even when its mystery makes no extra sense than the one offered right here.
We serve Chicago’s numerous and under-served citizenry by offering entry to world-class cinema. We aim to complement Chicago’s cultural surroundings by presenting film in contexts that encourage discussion and debate. Become a MemberMembers receive special benefits like advanced ticket gross sales and invitations to exclusive events. Get details on the most-anticipated films headed to theaters in October,...
Subscribe To Learn Monetary Instances
So does the truth that Seo-rae, a Chinese immigrant, speaks limited Korean, one thing Hae-joon accommodates by explaining guidelines and procedures as merely as attainable. At first look — and it rewards several glances — “Decision to Leave” seems to inform the story of a police detective and the gorgeous woman who upends his boring, well-ordered existence. It’s a story of inconceivable longing, the kind that may undo a wedding, wreck a career and ship ordinary people spiraling into an all-consuming obsession.
Hae-joon’s suspicion isn’t assisted by the very fact she euthanized her mom, which is why she can never return to her homeland. Eventually, her husband’s case is closed just in time for extra condemning proof to be revealed. The mutual attraction between suspect and investigator is quelled by Hae-joon transferring to Ipo. But Sea-rae arrives a yr later, this time with a model new husband with nefarious connections.
Park’s films, whether or not they are his propulsive and violent “Vengeance Trilogy” of “Sympathy for Mr. Vengeance,” “Oldboy” and “Lady Vengeance” or the statelier and sultrier “The Handmaiden,” are nothing if not stylish. He’s one of the most accomplish visible stylists in worldwide cinema, managing to make even essentially the most prosaic locations in “Decision to Leave” – a police station, a parked automobile – look alluring and dramatic. Park Chan-wook’s newest, about a forlorn detective falling for his beautiful suspect, is an exuberant, destabilizing tackle a classic film noir setup. A have a look at Decision to Leave, a middling but watchable movie from the legendary grasp Park Chan-wook – a cop/criminal love story that falters but occasionally fascinates. Decision to Leave stokes admiration for the inventiveness of a cross-fade, yet fosters our profound apathy toward fundamentals just like the id of a assassin or the stirrings of the forbidden lovers.
When Park gets to the haunting climax, it is heart-breaking -- as in the best noir tradition. I don't thoughts the gradual pacing, but the fashion felt inconsistent. The shifting fashion of quirky, to comedy, to neo noir, to romantic was off putting to me and felt like Park was attempting to do too much.
But, as with his previous THE HANDMAIDEN, Park reloads proper as the movie seems to be winding down. It was not dangerous but it was not at the stage of park chan woak it solely had nice performing and great cinematography and great music however the plot was not good and it was not even a thriller movie the ending was good however not the most effective . Finally i recommend you to watch it as a outcome of it's from park chan woak however korean motion pictures in these later 2 years are not good so it is the best among these. The good news is I suppose that you do not have to understand 100% of the plot to understand the essence of the film. The essence is that the film is a mixture of crime and romance, a detective falling in love with his suspect. Although "Decision to Leave" treads on familiar terrain for Park, as a film about love and obsession, I must say that I loved it more than any other film from him.
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And despite the actual fact that the movie as a complete could unravel extra on subsequent viewings, it is suffice to say for now that Park Chan-wook's newest is kind of an underwhelming dud. There are not any featured audience evaluations for Decision to Leave at this time. Decision to Leave screened at the Cannes movie festival and is launched on 21 October in cinemas. It’s all beautifully shot, with a gliding digicam that will abruptly pans in on its characters as if looking out their faces for clues. Eyes are a recurring motif here – it is a movie partly about looking 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 via the eyeball of a fish on a market stall.
Depraved Movie Diversifications: Plot, Cast, And Everything Else We Know
Park Hae-il's hangdog detective may be a pleasure to comply with round, but Wei is the center and soul of the film. Radiant and yet broken, the beautiful Seo-rae is intelligent and sly, but in the end melancholic along with her tragic backstory and troublesome future, continually caught up within the machinations of males on either side of the law. Park's good framing and the stainless cinematography from Kim Ji-yong mix to make each scene stunning, even when some are easy. The modifying from Kim Sang-bum, a frequent collaborator with the director, adds wit and pleasure to what otherwise could've been a a lot more easy romantic thriller. Park has a means of constructing linear narratives feel nonlinear, modifying scenes in stunning methods and chopping virtually arbitrarily.
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Meek, beatific Seo-rae would not appear to be a killer; behind her lengthy lashes lies the angel face of a revered eldercare employee. But beneath her conservative clothes lies bruises, and with them the motive of a battered wife who may have had sufficient. But did she have the opportunity to scale a mountain and push her lout of a husband off of it?
In the top, the spectator is -- identical to Hae-jun -- left incapable of getting the ultimate verdict on Seo-rae, this ephemeral character in the foggy panorama. For Hae-jun, the pain is available in the best way thoughts of Seo-rae crowd into his mind unbidden, even whereas he is making love to his wife. And then there’s the growing suspicion that this mercurial, good lady, who seems to have as eager an intuition for felony psychology as he does, might be toying with him; that the unintentional death of her husband will not be what it initially appeared. “Decision to Leave,” which won Park a directing prize at Cannes and can characterize South Korea within the Oscars’ worldwide feature race, is a movie of subtler, extra luxuriant pleasures. Compared with that unfortunate octopus, the sushi here is both ethically sourced and exquisitely plated. And as the movie’s inextricably sure leads, Hae-joon (Park Hae-il) and Seo-rae , take pleasure in their meal in straightforward, companionable silence, you’d be forgiven for assuming they were lovers or spouses, rather than a murder detective and his prime suspect.
The youngest officer ever to turn out to be an investigator within the historical past of his department, he’s perceived as something of a hotshot, allowing him flexibility. He’s drawn into her matter-of-factness, investing himself, perhaps greater than usual, in her surveillance. Comfortably married to his wife (Lee Jung-hyun), who he only sees on the weekends as their home in Ipo is too far from Busan, Hae-joon has on a daily basis he must nurse an obsession. His partner (Go Kyung-pyo), is more suspicious of the woman, partially as a result of Hae-joon’s preferential remedy of her, which eclipses the attention they also have to dedicate to a different long-gestating investigation. Seo-rae’s background is equally mysterious, a Chinese nationwide whose grandfather from Manchuria was awarded citizenship due to his service for Korea, allowed her to stay in the country when she illegally migrated.
