(This article was originally produced by Poison Tongue Movie: dsmovie)
Today, in order to awaken the awareness of this holiday - Singles' Day, sir decided to recommend a movie for the grandfathers.
It's a crime film that's completely dominated by anger.
There was not a trace of light, nor any breathing room, from start to finish, dry, dry, dry.
Some people may be tired of this machine-gun-style physiological stimulus, but sir looks very cool.
Don't sell Guanzi -
Asura
asura
Korean ratings, "19 banned" movies.
Douban 7.1.
South Korea's native naver score is 6.53.
It is not high, but in Sir's view, it is underrated.
The applause must first be dedicated to the director, and with this film, Kim Sung-so has entered the list of "Korean directors to look forward to" in sir's heart.
Yes, the name is not as loud as Park Chan-wook, Bong Joon-ho, Kim Ki-duk, and Hong Sang-so, but it is definitely worth paying attention to.
Kim Sung-so's previous work is the 2013 disaster blockbuster "Flu".
The story begins with a small cold, which no one thinks about at first, but soon, the flu spread to every corner of the country, panic and despair began to grow, and law and order gradually collapsed.
- The virus is worse than "Busan Trip".
One of the most impressive images of Flu is the stadium.
At night, the stadium was brightly lit, the turf was dug up, and a large pit was left, densely filled with infected people, some dead, more alive.
True crematorium; true hell.
Kim Sung-so should have a soft spot for the theme of purgatory on earth.
Unfortunately, subject to market pressure, in "Flu", it had to render a clichéd emotional relationship, and finally, it also gave the movie a happy ending.
What a pity.
And the director's regret, this time, was completely repaired in "Asura".
Long gone, iron-like stories, and that feeling of exhaustion that goes deep into the bone marrow.
It's a story that takes place in hell, and this story is hell.
A fictional Korean city, Annam, a dark city similar to "Gotham", through the overhead lens, we see that it is a place of oppression that is completely different from the modern cities of the developed world.
No tall buildings.
Some are maze-like alleys.
Look closely, various dwarf residential buildings are also hung with anti-demolition protests.
Hell has no good place.
Therefore, the protagonists of the three sides of the story are all sinners driven by desire.
Mayor of Annam City, Park Sung-bae (Hwang Jung-min).
Standard politician, acting world-class.
If I am whipped, I will receive the whipping with all my body
In order to win the will of the people, he did not hesitate to single-handedly plan the assassination scene.
Buying murder, drug trafficking, everything he did, was for money.
Annan City Prosecutor, Kim Che-jin (Guo Duyuan).
On the surface, this is a civil servant who is the supremacy of the law and cannot tolerate the evil sand in his eyes.
I wanted the mayor's murder testimony, that's all
But the procedure in which he exercised justice was not very just.
Is he seeking justice, or is he seeking the power to exercise justice?
Sandwiched in the middle is our male protagonist, the little policeman, Han Dujing (played by Zheng Yusheng).
At the beginning of the film, he makes it clear that he does not ask questions of right and wrong, does not stand in black and white, and only supports the victorious side.
However, the ants who know the times are still ants.
This is a class of beasts: the little people struggle to survive; the middle class is desperate to move upwards; and the big people do everything they can to exploit the people's fat.
This may be the meaning of the title of the film - the Asura Path is located between the human path and the animal path, and people are here, like animals, struggling to survive and biting.
And in the end, they just lose what they care about most, money, power, and sex.
Violence is the coin of hell, and fate is the law that runs through hell.
Sir briefly said a few plot arrangements.
For example, the protagonist in the cracks, he carefully serves the mayor, or he can't escape being strangled by the neck.
At the same time, he has also suffered from the "fist of justice" of the angry and corrupt prosecutor.
But you go back to the beginning, and he also plotted the sin of choking the throat of the people at the bottom.
He got down and was vicious not to lose to the prosecutor.
Even the "Immortal Jump" he planned was regurgitated to him.
Even the only colleague he cares about, the blackening of his younger brother (Zhu Zhixun), is also an imitation of his behavior.
To put it bluntly, this is the retribution of a karmic cycle, what to sow, what to get.
Weigh the place where the final climax took place, the Spirit Hall.
Its metaphor for hell cannot be more obvious.
Since everyone is guilty, let's go to hell together.
In the words of director Kim Sung-so, this is his "first film without the sun."
What is even more rare is that while the theme is black and hard, its expression is also faithful to this coldness.
Sir had to mention one of the rainy night drag racing scenes.
Prior to this, Han Dujing was pushed into the "trap", injured, and deprived of his five senses (only blurred vision remained).
He chased him out of the room, dizzy and tinnitus, a world in the rain distorted and solid.
He got into the car regardless of the fact that he had blood on his face, and in the heavy rain, he had only enemies in his eyes.
Asiba, Asiba, Asiba...
He even went so far as to destroy the other party by committing suicide.
In this scene, the action is not a tug-of-war between the strong and the weak, the action is digging inward, death becomes meaningless, and whether you can conquer you in will is what I really care about.
In contrast, the soaring drag racing of "Rapid Shock" is more like a showmanship sensation.
This kind of blunt knife saw meat mania and cruelty is exactly what Sir loves about Asura.
It can be shallow, not oily.
Because Korean movies never shy away from reality.
As the director of "Asura" said—
I hate preaching the most. The script was originally called "reflection" because of these non-reflective people in the film.
This is also sir's biggest affirmation of Korean films, admittedly, they can't do the delicacy of Japan, the integrity of Hollywood, 90% of Korean films, and the high-end dust of Europe.
They can't understand the world, nor can they make a sigh around the beams, but even if they cater to the market, they don't completely give up self-expression, and this impulse to say something is so determined that even people with a hard heart will be burned by their passion.
Many people say that South Korea has produced a lot of films that change the country, but Sir believes that the director did not want to "change the country" when he created, and they considered whether they could be loyal to themselves first.
After Trump was elected President of the United States, the German media once titled it" "Angry People's President", that is, this is a leader elected by the angry people.
In Sir's view, the vast majority of Korean movies can also be said to be "angry people's movies".
"The Melting Pot", "New World", "The Insider"
They rarely achieve emotional moderation.
However, in all kinds of exquisite, strange and absurd dramas, it is always impossible to hide the Korean directors' doubts and reflections on the contemporary social and political situation.
One of the necessary conditions for a good film is not to record the present, even if it is a commercial film, but also to change the metaphor of reality in a more vivid audiovisual language.
This is a sense of cultural responsibility that movies cannot escape.
From this point of view, no matter how dark Korean movies are, they can always let us find the resonance of our hearts, and no matter how clean our movies are, they always involuntarily have a cheap plastic feeling.
This is top-down aphasia.
Pornography, violence, and 19 bans are not problems, but unprovoked bans are big problems.
From this point of view, Sir sincerely hopes that the Film Industry Promotion Law, which was voted on November 7 this week, will be implemented as soon as possible.
In the words of "New Dragon Gate Inn", don't let us always hope that Mei quenches her thirst and says to Korean movies —
Come, make a toast to this nameless and nameless year.
The picture in this article comes from the network
If you want to see, there is a juice source at station b
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