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JSA, The Foul King, The Isle, Barking Dogs Never Bite, Chunhyang, Peppermint Candy, and more. In terms of box- office, the year 2.
As with last year, a North- Korean themed work dominated the theaters, with Park Chan- wook's Joint Security Area setting attendance records and placing itself in line to become the best- selling Korean film in history (as of year- end it will remain in second place just behind Shiri, however it is forecast to pass Kang Je- gyu's film in early January). The success of this film has also brought its distributor, CJ Entertainment, into the elite status once held solely by local distributor Cinema Service. With the release of a string of blockbusters including Bichunmoo, Libera Me and The Legend of Gingko, Korean cinema has now entered the high- priced market of big budget genre films. Although many of these blockbusters have drawn large numbers of viewers, high production costs means that film companies will likely need to sell these films abroad as well to turn a profit.
Early returns indicate that there is growing interest in Korean films particularly in Asia, with Japan being the most important market. Apart from box- office fare there was an unusually strong collection of art films released in 2. Notable works include Peppermint Candy, Lies, Chunhyang, Barking Dogs Never Bite, The Isle, The Virgin Stripped Bare by her Bachelors, Die Bad, and Bongja.
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Korea also continues to churn out scores of fascinating, high- quality short films. Reviewed below: Peppermint Candy(Jan 1) - - Lies(Jan 8) - - Chunhyang(Jan 2. The Foul King(Feb 4) - - Barking Dogs Never Bite(Feb 1. Interview(Apr 1) - - The Isle(Apr 2. Virgin Stripped Bare by her Bachelors(May 2.
Ditto(May 2. 7) - - Secret Tears(Jun 3) - - Bichunmoo(Jul 1) - - Die Bad(Jul 1. Nightmare(Jul 2. 9) - - Joint Security Area(Sep 9) - - Il Mare(Sep 9) - - Pisces(Oct 2. Libera Me(Nov 1. 1) - - Asako in Ruby Shoes(Dec 9).
The Best Selling Films of 2. Korean Films. Seoul Admissions.
Release Date. Weeks. Joint Security Area. Watch Deep End Online Full Movie. Sep 9. 20*2. The Foul King. Feb 4. 12. 3Bichunmoo. Jul 1. 74. The Legend of Gingko.
Nov 1. 16. 5Libera Me. Nov 1. 16. 6A Nightmare. Jul 2. 95. 7Ditto. May 2. 71. 08. Lies. Jan 8. 59. Peppermint Candy. Jan 1. 11. 10. Jakarta.
Dec 3. 05*All Films. Seoul Admissions.
Release Date. Weeks. Joint Security Area (Korea)2,4. Sep 9. 20*2. Mission: Impossible 2 (US)1,1. Jun 1. 78. 3Gladiator (US)1,1. Jun 3. 13. 4The Foul King (Korea)8.
Feb 4. 12. 5Bichunmoo (Korea)7. Jul 1. 76. The Legend of Gingko (Korea)6. Nov 1. 16. 7Dinosaur (US)6. July 1. 56. 8The Perfect Storm (US)5.
Jul 2. 95. 9Libera Me (Korea)5. Nov 1. 16. 10. Charlie's Angels (US)4. Nov 2. 55. * Includes tickets sold in 2. Joint Security Area drew an estimated 5. Market share: Korean 3. Imports 6. 4. 9% (nationwide)Films released: Korean 5.
Imported 3. 42. Total attendance: 6. Number of screens: 7.
Exchange rate (2. US dollar. Average ticket price: 5,3. US$4. 7. 0)Exports to other countries: US$7,0. Average budget: 1. Source: Korean Film Council (KOFIC). These are some reviews of the features released in 2.
They are listed in the order of their release. Peppermint Candy. As one of the most anticipated films of the year, Peppermint Candy, the second feature from acclaimed director Lee Chang- dong, was chosen to be the opening film of the 1.
Pusan International Film Festival. Some people viewed this as a coming of age: both for Lee, the novelist- turned- director whose debut feature Green Fish (1. Vancouver International Film Festival; and for Korean cinema in general, since this was the first time in PIFF's four- year history that a domestic film was chosen for this honor. The festival opened with fireworks, speeches, and a bit of rain, and when the film began to roll it clashed somewhat with the festive atmosphere. Peppermint Candy is the personal history of a man whose troubled experiences leave him greatly disturbed.
The film asks of its viewers a fair amount of concentration and emotional energy; some scenes are upsetting, while others give us mere hints of beauty: the undeveloped potential that lies dormant within our hero. The narrative structure of Peppermint Candy shares much in common with an early Jane Campion film, Two Friends, in that we first witness a tragedy, and then progress backwards in time to learn the events which led up to it. The film contains seven episodes from our hero's life, each of which reveal him in a different stage of development. These segments are linked by a series of shots taken from the back of a train, as if to suggest that the train itself leads us back into his past.
Many of the episodes in our hero's life echo the contemporary history of Korea: serving in the military, torturing political dissidents as a policeman, and losing money in a failed business venture. These symbolic events mingle with the personal aspects of his life: an early love affair, which continues to haunt him years later, and his subsequent failed marriage. Ultimately the main character remains out of our grasp. Lee denies us any easy explanations for our hero's character, or excuses for his behavior.
The film frustrated me as I was watching it for the first time; I wanted greater access to the hero's feelings. Nonetheless, I felt shattered upon reaching the end of the film, and it has beckoned me back for a second viewing. (Darcy Paquet) Lies. On January 8, 2. 00. Jang Sun- woo finally reached the theaters.
With a scalped ticket in hand, I pushed my way past the crowds and TV cameras into Dansungsa Theater to find my seat. When the film began to roll, the mark left by the censor was clear: a couple scenes were screened without sound, leaving an eerie silence in the theater; the naughty bits had all been blurred; and other scenes had been completely removed, including a particularly lewd conversation about sex between two high school girls and a scene involving coprophilia (look it up in the dictionary). In all, five minutes of footage had been removed from the 1. The film itself left many disappointed. Jang has established such a high standard in his works of the past decade that this rather simple tale of a sado- masochistic affair left some of his fans perplexed.
Some of Jang's old themes are revisited in this work, namely the complex and at times savage power relations between men and women (cf. The Lovers of Woomook- baemi, or the writer and his lover in To You, From Me), but on the whole it seemed to devote more energy to pushing buttons, setting up scenes that were certain to shock and infuriate conservative viewers. Much can be read into the film's title. Jang originally intended to use the title of the novel on which the film is based, Lie to Me, which places us inside the narrative, but later he shortened it to just Lies, which can more easily be directed at society in general. Jang has long ridiculed the hypocrisy of Korean society, whose outwardly conservative sexual mores mask a thriving sex industry and widespread exploitation of minors. This double standard has ironically has been reflected in the film's reception.
The sex we see in Lies does not feel in any way enticing; the protagonists are left seeming pathetic by the end of the film, and few viewers are likely to go scavenging for sticks after leaving the theater. Nonetheless some groups have labeled even the edited version as dangerous pornography, while turning a blind eye to the far more subversive pornographic videos and CD- roms that are available in department stores, street corners and video shops across the nation. Jang has had enough experience with censorship and controversy that he must have known exactly the reception his film would receive. In many ways I consider the lawsuits, the rejections by the ratings board, and the protests by citizens groups as much a part of this work as the mise- en- scene and cinematography, for they were clearly planned and anticipated by the director.