A taxi driver korean film analysis korean critic

The relaxed, convincing performances of the actors also deserve notice. To capture a natural setting so well on a medium that often feels cold and sterile is an unusual accomplishment. In Flower Island, Song showed an unusual talent for the aesthetics of digital cinema, but here he takes it one step further. One is that such a low-budget film looks so good visually. In Song's other works, such elements sometimes feel forced or self-consciously arty, but here they blend with the otherworldly presence of the island and add a sense of mystery.Git (which means either a triangular flag or 'feather' in Korean) is surprising in several respects. And the tango, a very un-Korean pasttime, makes a striking appearance in the film. A peacock appears on the island, with no clear explanation or motivation. There is So-yeon's uncle, a middle-aged man with bleached blonde hair who hasn't spoken since his wife abandoned him. Named Lee So-yeon (played by - sure enough - actress Lee So-yeon of Untold Scandal), the woman is twelve years his junior, and possesses an unusual energy and enthusiasm.Although the general path followed by the plot is pretty straightforward, Song leads us down many odd and fascinating detours. As he waits, the pressures of his work life start to recede, and he becomes acquainted with the young woman who runs the motel. (It seems appropriate that Git's basic setup recalls Richard Linklater's Before Sunset, another film that stands out for the beauty and simplicity of its construction)On Biyang-do, the director - named Jang Hyun-seong, the same as the actor who portrays him - is overpowered with both memories of the past and the beauty of the island. Now, years after breaking up, he returns to the small island named Biyang-do, wondering if his ex-girlfriend will remember their appointment. While staying on a remote southern island off Jeju-do, he and his girlfriend of the time agreed to come back and meet at the same motel exactly ten years in the future. Git centers around a film director who, in the middle of starting his next screenplay, remembers a promise he'd made ten years earlier. As an omnibus work, 1.3.6 has to be considered a failure, especially as the three films (Jang's amusing Sonagi Epilogue, Lee's poorly-received Mobius Strip, and Song's poetic Git) don't match, not just in length but in form, content, mood, style, and quality.But if Song betrayed the spirit of the omnibus project, he remained true to the needs of his film.

Alas, the festival's expectations were confounded, first in that only Lee Young-jae's work really engaged environmental issues in a direct way (the other two were merely set in rural areas), and second by the fact that Song went out and shot a 70-minute film. Comprising works by Jang Jin (Someone Special), Lee Young-jae (Harmonium in My Memory) and Song, 1.3.6 was intended to explore environmental themes and was slotted to open the first Green Film Festival in Seoul in late October. Git was originally commissioned as a 30-minute segment of the digital omnibus film 1.3.6. This may have been what happened with Git by Song Il-gon, the director of Flower Island (2001), Spider Forest (2004), and various award-winning short films including The Picnic (1999). Without the pressure and weighty expectations involved in producing a major work, inspiration flows freely and the result is an even more accomplished piece of art. Feathers in the Wind)Sometimes small-scale, informal projects can liberate a director. They are listed in the order of their release. These are some reviews of the features released in 2005 that have generated the most discussion and interest among film critics and/or the general public.

A taxi driver korean film analysis korean critic