<h1 class="pgc-h-arrow-right" data-track="1" >1, the other side of the film poet is the writer</h1>
Speaking of Li Cangdong, the public may be more familiar with his 2018 cannes film work "Burning", which was well received at the Cannes Film Festival, focusing on the thinking of modern life, using his usual shooting method full of symbolic significance and details to see human nature, delicately presenting the inner contradictions and struggles of each character.
And I think he was able to stand out among the Korean directors and become a master figure, known as a "film poet", inseparable from his past writer status.
Few people know that Lee Cangdong was once a writer and his work won the Creation Literature Award of the Korea Daily.
In an interview, he revealed that he began to write novels in the 1980s, mainly related to the turmoil and changes in the situation in South Korea at that time, and the novels carried his thoughts and distress about social reality.
Until the late 1990s, the changing social atmosphere in South Korea made him feel that he could have a better way of communicating, so he switched to the expression of movies.
In 1997, he directed his first film, Green Fish, at the age of 43. To this day, for more than twenty years, he has only directed six films.
As a director, he is not very prolific, but every film is a classic, always resonating and discussing with the public.
If you've seen his novels and watched his films, it's not hard to see that there are inextricable links.
Some people say that without the writer Li Cangdong, there would be no later director Li Cangdong.
After reading Li Cangdong's early collection of novels, "Burning Paper", I very much agree with this statement.
Unlike some film practitioners who write stories out of the blue, his novels are unexpectedly easy to read, one scene after another, and it seems that the reading process can already see the picture playing out in the mind, but they all have a kind of poignant pain.
That kind of suffering is not the absurdity of living in the basement of "Parasite" and trying to turn around and change his fate with the help of lies, but how a person is placed in a cold and helpless environment, watching human nature being eroded and unable to find the meaning of life.
<h1 class="pgc-h-arrow-right" data-track="14" >2, the era of pain, is the source of literary creation</h1>
As mentioned earlier, the background of his literary creation stems from the repressive social atmosphere in South Korea in the 80s.
After the outbreak of the Gwangju Incident, white terror hung over the lives of South Korean citizens, coupled with the continued tension between the North and the South, and the daily life of the people was turbulent.
In his short story "Burning Paper", it seems to tell the incomplete life of the old woman's family - the daughter-in-law left the unanited child and ran away from home, the sister-in-law always said that she was talking to the ghost, and the husband disappeared for more than thirty years, but she firmly believed that he was still alive.
But behind these fragments is the impact of the times on a family, and the aftermath can even affect three generations.
In the end, the eldest son complained that his father, who had been labeled a red element, had delayed his life, and the second son embarked on the road of spreading radical ideas, causing the police to come to the door, and the younger grandson, although ignorant, was already keenly aware that the police were coming to arrest his family.
By burning paper, the old lady not only wants to save the family, but also pays tribute to the history of the past.
In other words, the ending of the story itself is open-ended, and everyone can extend their own interpretation from the end of the burning paper.
Li Cangdong himself also mentioned in an interview that when he made a movie, he did not want the film to have a clear and complete ending, whether it was happy or tragic, it was not what he wanted, because the real life was like this, so an incomplete ending, but can follow the psychological changes of the audience and extend its various possibilities.
This philosophy is also in line with his novels.
Some writers will try to pursue an impressive ending, and Li Cangdong's novels mostly just leave a back, some ambiguous imagery, for the reader to chew.
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Burning paper Korean film master writer type director Lee Cangdong novel masterpiece Trivial life hidden menace ¥45.5 purchase
Sometimes I can't figure out what I want to express, sometimes I am curious about the fate of the characters later, and even I can't help but sigh when I look at it, just like watching his movie, I always feel that there is a kind of lonely and sad aftertaste.
<h1 class="pgc-h-arrow-right" data-track="26" >3, ordinary people's lives are not ordinary</h1>
Most of Li Cangdong's film works focus on the current situation of the lives of small people in the cracks.
For example, "Mints" tells how a person embarked on a self-destructive life because he accidentally killed a civilian girl when he was young, but the film itself does not stop at the condemnation of his mistakes, but traces back to his life step by step, how because of the chaos of the times, the ignorance of youth, and various factors, every step has made a wrong choice, until it has forced itself to a dead end.
"Miyang" tells a tragic story, trying to find a happy mother, but on the road encountered great pain in life, after the pain of losing a child, how she asked religion for help to obtain spiritual salvation, and how to tear off the veil of religion and directly denounc its hypocrisy.
In his novels, there are old women who are crazy on the tourist bus and suffer from the blank eyes of everyone, and even the physiological needs of going to the toilet are not met, there are symbiotic maternal love that is attached to the son like a ghost and tries to drive away the daughter-in-law, and there is also an old man who only knows how to harm the family all his life, is paralyzed in bed when he is old, and finally abandons his family and asks to spend the last moments of his life with his ex-wife and daughter whom he has not seen for decades.
They are all ordinary people in the world, and they all have their own cold and warm lives.
Only Li Cangdong can open the dark side behind everyone, dig deep and dig deeper, not to argue whether it is black and white, but just to see where the sun cannot shine, but also to see that it is only a part of real life.