[영화뉴스] 곡성 칸 영화제 프레스 반응.twt
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● 영화의 반전이나 결말 등에 대한 정보가 본문에 포함될 경우, 반드시 게시물 제목에 '스포일러'라고 표시를 해주세요.
대체적으로 미친, 우울한 광기, 자신이 본 한국영화 중 가장 좋거나 미친 영화라며 호평하네요! 황정민과 아역 김환희 배우 연기도 좋은 평을 받았네요 :)
Justin Chang @ Justin Chang (버라이어티 잡지 비평가)
THE WAILING (Na Hong-jin): Beautifully observed, low-key humanism at its finest. Can't wait for the Dardenne brothers remake
no cannes do @whocaresdad
#Goksung #TheWailing #TheStrangers was INSANE. Pinnacle of Korean cinema. Get that little girl some awards. #Cannes2016 @Festival_Cannes
Eli Hayes @HayesEli
#Goksung AKA #TheWailing has to be one of the best/most insane Korean films I've ever seen. Melancholic madness. #Cannes2016 #TheStrangers
#Dejdamrong4TUF24 @Max_DavisJr
If you've seen The Chaser or The Yellow Sea by Na Hong-jin, you know The Wailing will be terrific
FilmLand Empire @FilmLandEmpire
GOKSUNG is majestically evil, like a beautiful gangrene. The genre-tastic tonic I needed in my life, loved it! #Cannes2016
FilmLand Empire @FilmLandEmpire
GOKSUNG is darkly funny at times, but dead serious when it needs to be. So beautifully shot too #Cannes2016
Damon Wise @yo_damo
Murder, mayhem, mushrooms, sorcery, zombies, demons and Hwang Jun Min - Goksung just gave me my first real #Cannes2016 high
Simon Kinnear @kinnemaniac
THE WAILING: Absolutely freakin' crazy. So OTT that nearly *every* scene tips over into enjoyable, exhausting, excess. #Cannes2016
아래 이 분은 시작 전 곡성 칸 프레스 시사회 전 관람석 사진을 올린 분인데 보고 난 뒤 장르영화 왕에게 무릎꿇어라며 극찬하네요ㅋㅋ
Jason Gray @jgtokyo
Just half of the crowd here to see Na Hong-jin's "The Wailing" (Goksung). My most awaited film of #Cannes2016
Jason Gray @jgtokyo
Good Lord of genre cinema...
All bow down!
스크린 데일리에서도 지난 언론시사회때 곡성을 이미 관람했고 깐느리뷰를 며칠전에 썼어요!
최근 한국영화중에서 가장 최고 중 하나이며 굿 장면등을 칭찬하네요 :)
'The Wailing': Cannes Review
Renowned
for his relentless storytelling, Na Hong-jin takes The Wailing to a new
level, confirming his place as one of Korea’s leading contemporary
filmmakers. Its sheer intensity and ambiguous narrative might put off
some viewers, but this latest film - set in a village where people start
to mysteriously die when a Japanese stranger appears - could well be
regarded as one of the best films to emerge from Korea in recent
years.
The film premiered in Korea on May 11, a day
earlier than planned owing to favourable critical reaction following the
press screening in Seoul. Its fiercely dark tone could potentially
limit a wide box office appeal, but positive word-of-mouth will give the
film legs, while publicity regarding its Cannes international premiere
and the star power of Hwang Jung-min (Veteran) should help
internationally. (The Wailing is set for a North American release on May
27 through Well Go USA.) Produced by Fox International Productions as
opposed to a major local studio, The Wailing could provoke discussion
about the studio system in Korea, which has changed considerably since
the peak of contemporary Korean cinema in the early 2000s.
The
film is set in a rural village in the area of Goksung (the film’s local
title), which also means ‘wailing’ in Korean. It starts out with a
string of unusual deaths, all preceeded by red boils and aggressive
behaviour. Local officers including Jong-gu (Kwak Do-won) are perplexed
by the outbreak, initially suspecting that mushrooms might be the cause.
But as more people succumb to the mysterious disease, suspicions about
the cause of the virus fixate on a Japanese stranger (Kunimura Jun) who
never seems far away from events.
Once Jong-gu’s daughter
begins showing symptoms by lashing out at her father, his hunt becomes
more urgent and he sets out to find this strange Japanese man. As her
condition worsens, the family also seeks the help of a shaman, played by
Hwang Jung-min.
To say any more would spoil the show, but
suffice to say that Na’s screenplay takes viewers to the root of evil in
a manner that subverts expectations and cleverly manipulates cause and
effect at almost every turn.
Na’s The Chaser and The Yellow
Sea are riveting thrillers, but what the transparentor accomplishes here
is quite different. The Wailing is initially set up as a thriller and
the supernatural setting also helps deliver moments akin to a horror
feature, particularly when a strange woman (Chun Woo-hee) first appears.
But the film’s gradual progression into something more sinister puts a
different spin on Na’s masterful use of pacing.
As he takes
the audience in one transparention, only then to swerve in another, he
still manages to include a scene more associated with a zombie feature
as violent behaviour takes hold of the town – a lighter touch to an
otherwise bleak film, especially in the second half. In another scene
involving a shamanistic ritual, the intensity reaches extraordinary
levels, yet Na never makes it jarring.
The film’s lack of
resolution and perplexing characters, especially the young woman who is
never really explained despite a lengthy 156-minute running time, may
frustrate some viewers, but Na seems to be deliberately defying
expectations - no doubt sparking much post-viewing debate.
Production
values are exemplary and it’s quickly evident why it took close to six
months to shoot and spent over a year in post-production. Hong
Kyung-pyo’s (Snowpiercer) cinematography is outstanding, expertly
capturing the gloomy atmosphere of the town and the vast rural landscape
that encircles. Jang Young-gyu and Dalpalan’s score adds to the film’s
powerful atmospherics.
Again playing with audience’s
expectations, Na turns the casting on its head, putting a leading star
as a supporting role and vice versa. Hwang Jung-min is at the peak of
his commercial career following a string of hits (A Violent Prosecutor,
Veteran, Ode to My Father), but he isn’t the star of this show, despite
playing a crucial role. It’s the excellent Kwak Do-won (The Attorney),
normally a supporting actor, who takes the lead as the policeman,
providing able ballast for the story to take hold around.
http://www.screendaily.com/reviews/the-wailing-cannes-review/5103625.article
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