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Regrettably, Antarctic Journal never makes up its mind about whether to stick to genre conventions or not. The result for me, however, is to make it much more of a thinking film than an emotional film. It's such a simple variation on the standard formula, but it causes the whole generic structure of viewer loyalties and triumph-against-odds expectations to crash down like a house of cards.
Watching this film's gripping resolution play out, we have no idea what will happen, and we hardly even know what to wish for. Those, too, concerned with missing the deliriously whacked-out imagery and wild stylistic flourishes of Park's earlier two films need not worry.
Now imagine a boxing movie where two men who desperately need a break in life, who we both empathize with so much that it hurts, step into the ring against each other. When Park is on top of his myriad tools of cinematic expression, the results have always been breathtaking and it is no exception here. One way to approach this film is to simply revel in the details.
This might have given this slick but flawed film a chance to kindle the softly glowing ashes of greatness at its core. Eventually, doubts begin to creep into Mun-hee's mind, and she declares that their affair is finished. She half-threatens, half-cajoles her former fellow inmates to help her carry out the revenge.
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Without it, the film's ending is emotionally monotone. She skillfully brings Cho-won's mother, Kyeong-sook, to life as a flawed protector of her son.
This is what I think the movie is asking. And the tango, a very un-Korean pasttime, makes a striking appearance in the film. They are listed in the order of their release. When fitted with an additional piece, the bow becomes a stringed instrument.
If that were the case, there would be no reason to structure the film in the unusual way it is put together. To capture a natural setting so well on a medium that often feels cold and sterile is an unusual accomplishment.
If the movie was exceptional in some way, it may participate in a film festival before or after its general theatrical release. And that is where the true power of Mokdugi Video lies. Despite the high expectation, however, the movie had a disappointing domestic run, contributing to the latest industry wagging about the decline of so-called star power in Korean cinema.
The viewer's patience is rewarded by the end, however, in a resolution that is emotionally moving on the level of Failan, and backhandedly subversive in its construction. Moreover, performances of the theatrically trained actors here are truly excellent. Sadly, however, the instrument doesn't fit into the film's plot beyond providing for occasional mood music. The appearance of this blurry image is so brief that the film-maker replays it several times and even circles the area we need to be looking in order for us to see it. It was reported immediately after in numerous newspapers that the journalists in attendance applauded long and hard following the press screening and that most of them were in tears.
Instead, they exploit the textures of a space. But most of all, this is a film about a small group of individuals who consciously decide to change history. Lee So-yeon makes her slightly thin character memorable through considerable screen presence, while Jang Hyun-seong of independent films Nabi and Rewind gives the performance of his career. Though the borders of her world are obviously quite limited, she seems happy, and the old man plans to marry her the day she reaches legal age.
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