Archive for the 'Directors: Bong Joon-ho' Category
My first visit to the Vancouver International Film Festival back in 2005 was at the invitation of Tony Rayns, programmer of the Dragons and Tigers series. That series included both new films by established directors and a batch of first or second features by beginners. Tony asked me to be on the jury for the young D & T award.
I enjoyed working on that jury, which consisted of old friend Li Cheuk-to of the Hong Kong Film Festival and new friend Gerwin Tamsma of the Rotterdam fest. We gave the prize to Liu Jialin’s Oxhide, and it’s been gratifying to track her career since. In the course of my stay I realized what an excellent festival Vancouver had, not least because of the warmth and enthusiasm of its staff.
My Vancouver experience helped launch this blog, which really got under way during my second visit, in several entries in 2006. That was also the year I met Bong Joon-ho, who was at VIFF with The Host. I kept going back, and Kristin began joining me, so every year we’ve been writing about this admirable event.
During that 2006 festival Tony decided to rearrange his commitment to Dragons and Tigers. He turned the curating of Chinese-language films over to expert programmer Shelly Kraicer, who was living on the mainland and had excellent contacts within China, Hong Kong, and Taiwan. Now things have changed again. This year the festival accepted fewer beginners’ features and folded them into a broader international competition. One of the Asian films in the collection, Rekorder by Mikhail Red, tied with a French entry, Miss and the Doctors, for the award. In the old days, the winner received a cash prize; alas, that benefit has not been retained, but maybe some far-sighted patron will step forward to give the award a little more heft.
There were fewer D & T titles overall this year, but I still found several of great interest. Herewith some notes on them.
Time, and time again
If your movie is going to include flashbacks, you have a choice among several standard ways of motivating them. You can use the very old device of presenting an investigation or trial, in which the film translates testimony into dramatized scenes. Or you might frame the flashbacks with a scene of a character who thinks back on events in the past. Three of the Dragons and Tigers films used some other common flashback setups, but treated them in fresh ways.
Im Kwon-taek’s Revivre (Hwajang, his 102nd film!) starts with another canonical flashback situation. In fairly washed-out footage a funeral procession crosses the screen. A man at the head of the group looks back and sees a beautiful young woman looking gravely at him. Immediately the film triggers questions: Whose funeral is this? Why is the young woman important?
The rest of the film fills us in via flashbacks,. The protagonist, Oh Sang-moo, is a manager of the advertising section of a cosmetics company. His wife is stricken with a brain tumor and he cares for her as best he can during her years of surgery and recovery. At the same time, he develops a restrained affection for Ms. Choo, an employee in his division. Eventually Oh’s wife dies and there is the lingering possibility of his starting his life afresh with Ms. Choo, whose phantom face we’ve seen in the procession. Threaded through this are the pressures of a business deadline, his need to keep his staff on track, his occasionally fraught relations with his daughter, and his wife’s adamant insistence that after she dies he keep none of her things, not even her beloved dog.
The film scrambles the order of Oh’s experiences. After the funeral, within about five minutes we get a scene of Oh’s wife dying in the hospital, then a scene of his own medical problems, and then the moment that Oh’s wife collapsed in the garden, yielding the first sign of a tumor. The rest of the film gives us incidents from all phases of their last years together, with emphasis on his careful attention to her bodily functions. Although his daughter finds the task repellent, Oh changes his wife’s diapers and cleans her private parts with the same calm professionalism that he brings to the meetings in his company. In all, the non-chronological flashbacks work effectively to show Oh juggling the pressures of business with the demands of his family situation.
What makes Im’s treatment a little unusual is that the flashbacks aren’t presented as Oh’s memories. They are rearranged by the narrational authority of the film itself, rather than by situations that provoke Oh to recall this or that incident. We’re restricted to Oh’s range of knowledge throughout, but that doesn’t draw us closer to him. We have to read his mind through his expressions and his gestures, and these are often severely controlled. A master of the poker face, this executive keeps a polite distance from everyone, including the viewer. Is he one of nature’s stoics? Or is he emotionally detached, attending to his dying wife more out of duty than love?
These questions are partly answered by some brief fantasy scenes in which Oh visualizes Ms. Choo as a romantic partner. She seems to intuit his interest, and responds through small signals. When she starts to reciprocate more explicitly, Revivre returns to its mood of impassive sadness for its final scenes.
Time and freedom
Hong Sangsoo has been playing with time from the start of his career. He has tried replays from different viewpoints (The Power of Kangwon Province, 1998), replays that differ in details (The Virgin Stripped Bare by Her Bachelors, 2000), odd déjà-vu experiences (Turning Gate, 2002), and all manner of theme-and-variations plotting (as noted on this blog here and here and here). So it’s a bit surprising to find him exhuming the old reliable setup of letters recounting events in the past. Yet here as ever he has a couple of tricks up his sleeve.
Like Im, Hong has scrambled the flashbacks in Hill of Freedom, but he offers a comically exact motivation. Kwon, a young language teacher in Seoul, returns to find a sheaf of letters written to her by a Japanese admirer, Mori. He taught with her at the school two years earlier. He has come to Seoul to reunite with her, and he has left her a letter every day. She starts to read them in the school lobby, and Mori’s voice-over narration establishes the beginning of his story. He tells how he found lodging, left a note at Kwon’s apartment, and paid his first visit to the “Hill of Freedom” café.
So far, 1-2-3 preparation. But when Kwon starts to leave the language institute, she staggers on the staircase, as if stricken, and scatters the letters on the steps. She gathers them back up in random order. This sets up the scrambled timeline of the flashbacks to come. (Hong mischievously zooms in on a letter she fails to retrieve, hinting at a gap in the story that will follow.)
What Kwon learns, in mixed-up order, is that Mori’s search for her leads him to meet and hang out with his landlady’s nephew, while also becoming romantically involved with Youngsun, the café owner. In the grip of a possessive lover, Youngsun attaches herself to the fairly passive Mori. Their affair plays out in Hong’s usual mix of drinking bouts and pillow talk.
By the time we’re used to this pattern, Hong sets up a new game. As he keeps cutting back to Kwon reading through the letters, accompanied by Mori’s voice-over, Hong gradually reveals that she is reading them in the Hill of Freedom café—the very place Mori hoped to meet with her (but never did).
Eventually, Kwon steps outside for a cigarette, and we suddenly get her voice-over remarking that the last letter was postmarked a week ago. Has Mori then already left and stopped writing? At this point Kwon encounters Youngsun coming in, and they greet each other as friendly acquaintances. The next scene finds Kwon visiting Mori’s guest house.
What happens there shifts the ground under our feet. After talking with friends, I think that we can’t be sure about what’s actually taking place. A mysteriously bruised cheek, a surprise reunion, and the return of Mori’s voice-over fill the penultimate scene. The coda is even more of a puzzler, at least to me. (I wonder if it’s the scene described in the letter that Kwon didn’t retrieve.) In any event, Hong’s usual themes of the foolish arrogance of Korean men and the comedy of male-female interactions are given new expression in this lightweight but enjoyable movie. The fact that Hill of Freedom is mostly in English, which Mori must employ to communicate with the Korean characters, adds to the fun.
Yet another trigger for a flashback can be provided by a crisis situation. It might be rather near the story’s climax, so that we are left hanging and the plot takes us back to the origins of the problem. This is what we get in movies like The Big Clock (1947), which starts with our hero hiding out from the police and wondering how he got in this pickle. Or the crisis situation may come earlier in the story, with the flashback again filling in what led up to it before continuing the situation presented in the frame.
This latter option is followed in Mikhail Red’s Rekorder. After a brief prologue showing violent acts captured by CCTV cameras, we are in a police van with stern cops chatting about killing a dog before we’re introduced to the shaggy, wasted protagonist Maven riding with them.
From this framing situation we flash back to the reason Maven is in the van. Once a cinematographer in the glory days of Filipino cinema, he’s now a loner using his ancient camcorder to film movies in theatres and sell them to a friend who bootlegs DVDs.
Maven is a compulsive recorder. As the director puts it, he is “a ghost in the city observing everything through his lens.” So naturally he’s filming when a street gang kills a young man in front of a crowd who simply watch. Maven doesn’t volunteer his footage, since it includes part of a movie he was pirating. But now he’s been nabbed and is riding to headquarters with the cops, who are very curious about what’s on his tape.
Much of the rest of the film involves Maven’s attempt to keep the cops from examining his footage, while he agonizes about his passive acceptance of street violence. There are still more flashbacks, appropriately presented through old video footage of his wife and daughter. Not until the end of the film do we witness–again, on CCTV footage–the trauma that has turned him into the burnt-out case he is.
Mikhail Red commented that he was inspired to make Rekorder by a viral video in which a youth was shot in the street by thugs and a big crowd didn’t intervene but instead filmed the murder. He staged his own CCTV-style video to supply the denouement, and was shocked to find that it was appropriated in documentaries about street crime. Through a multimedia format, Rekorder updates the sort of social criticism that Raymond Red, Mikhail’s father, brought to Filipino cinema of the 1980s. That era as well is evoked through another sort of flashback, the clips from classic movies that Maven films. “I wanted,” Red says, “to pay homage to the pioneers.”
You don’t need to play time tricks to create an uneasy movie. Ow (Maru) presents a typical family squeezed by Japan’s economic stagnation. Dad pretends to have a job, when he actually sets out each day for the unemployment office. Mom and grandma putter about. Grown but spacy Tetsuo lounges about his room talking baby talk. One day, when his girlfriend has just snuggled into bed with him, they are transfixed by a big gray-brown sphere that drifts into his room.
Transfixed, literally. They freeze upon seeing it. So does Dad, and so do the cops who are called. Director Suzuki Yohei introduces us to the big ball with a shot of it slowly spinning, held long enough for us to get slightly hypnotized too. There follows some comic suspense in which people enter the bedroom and may or may not leave. The biggest tease is the reporter who, after learning of a death during the sphere’s arrival, researches the case and then lunges into the room, ranting about a police cover-up.
The tension–will others fall under the spell or the sphere?–is accentuated by shrewd camera setups. When the cops arrive, we get a low-angle shot behind Yuriko and Tetso, showing the frozen cops and a new one not yet transfixed. He pushes one stiff colleague over, revealing the ball, still hovering there, and we wait for him to be the new victim.
Much later, when the reporter first visits the room, the sphere has vanished. But a rhyming angle forces us to remember its presence, and to let the reporter–the source of the plot’s momentum for the rest of the movie–take the place of the hapless cop.
Finally, for another exercise in unkinked time, there is the Korean action picture Haemoo. Produced by Bong Joonho, it centers on the desperate captain of a fish-trawler who agrees to bring illegal immigrants into Korea. Everything that could go wrong does: storm, fog, Coast Guard patrols, a horny crew, and an idealistic novice seaman who tries to protect a woman. Everything, including the accident that creates a horrifying midway turning-point, is carefully prepared in the film’s opening scenes. The film’s second half locks us into the relentless consequences of covering up a huge crime.
The pace is so snappy that I expected lots of cutting, but I counted only about eight hundred shots in 106 minutes. (The Equalizer, only twenty minutes longer, has three times that number.) I attribute this cutting rate to neatly functional direction, with no fuss or waste. The ship’s engine room is a cramped set, hazy with steam and dust, and the shots there are finely calibrated to build the drama through depth, fluid camera movement, and our old friend The Cross. The randy engineer’s business of checking the equipment carries him from one side of the shot to the other, while the young seaman shifts around him–first on frame right, then on frame left, then in the center.
The plot has that satisfying neatness that is characteristic of Bong’s work, and its forward thrust has no need of flashbacks. We can’t ask for backstory when the upcoming twists are as fast-paced and exciting as they are here. Dragons and Tigers has always showcased not only the experimental films like Ow and Hill of Freedom but also the crowd-pleasers, and Haemoo (which translates as “Sea Fog”) solidly fulfills that mission. Long live linearity!
Hill of Freedom has sharply divided critical opinion. Richard Brody considers it a masterpiece; others consider it fluff. At Fandor David Hudson painstakingly surveys the cut and thrust of the controversy.
Hill of Freedom.
This slide, which appeared briefly before every screening at the Vancouver International Film Festival, epitomizes one of the event’s virtues: quiet sanity. Of course we must discourage people from recording the movie. But just as surely, we want people to photograph the filmmakers and record their comments and get the word out. Spreading the news benefits everybody, particularly the filmmakers.
Indeed, the whole VIFF clambake is run as efficiently as anyone can imagine. Want to get into a film? Very likely you will. A movie is getting buzz? Likely as not, extra screenings will be mounted. Annoyed by mobile devices in the throngs around you? House managers firmly ask people to shut them off. Now. Yet there’s nothing aggressive here. This is a city in which the buses preface the flashing notice “Out of Service” with an apologetic “Sorry.” A Manhattan bus would say, “You’re outta luck, pal.”
Now that Kristin and I are back, we know whom to thank: the organizers, the programmers, the office staff, and the inexhaustibly cheerful volunteers (700 strong). Below are Alan Franey, Festival Director, and PoChu AuYeung, Program Manager and Senior Programmer.
Come down for breakfast and you’re likely to run into Foreign Guest Coordinator Theresa Ho and Hospitality Suite Manager Eunhee Cha Brown. Dreyfus is usually not far away.
Then there’s the multi-talented Lillooet Fox, Food and Beverage Coordinator, waffle wrangler, and music supervisor for Amazon Falls, playing in the festival.
Ever notice how film people are always “on,” always subtly copping stances and looks from movies? Shelly Kraicer, Dragons & Tigers programmer, does his dressed-down version of Lars von Trier.
Speaking of T-shirts, nothing beats telling a story with your thorax. Consider Sean Axmaker (Parallax View) and Robert Koehler (Anaheim International Film Festival) and Raymond Phathanavirangoon (Hong Kong International Film Festival).
At happy hour, the waffles vanish and adult beverages come into their own. VIFF programmer and editor of Cinema Scope Mark Peranson hoists one with Variety critic (and University of Wisconsin alum) Rob Nelson.
Tony Rayns, veteran Dragons and Tigers programmer, is flanked by Bong Joon-ho on the left, Denis Côté (Curling) across the table, and Mark Peranson on the right. Geoff Gardner and Jack Vermee are in the distance. Again, the cinephiles pay homage to a shot, in this case from Hong Sangsoo’s Oki’s Movie.
Trustworthy translator Alex Fu and director Zhu Wen (Thomas Mao).
Takahashi Nazuki and Abe Saori celebrate after their screening of Icarus Under the Sun.
Meanwhile, Geoff Gardner (watch for his VIFF coverage in Urban Cinefile) finds that a rival venue has conjured up a star from another era.
And although we left Vancouver all too soon, we’ll always have Japadog. Not everything in Vancouver is quiet sanity, but even the nuttiness is quite easygoing.
I recommend no. 4, Spicy Cheese Terimayo.
First, the news flash: Tonight was the awards ceremony for the Dragons & Tigers competition for young filmmakers here at Vancouver. A jury doesn’t get more distinguished: it consisted of (left to right) Jia Zhang-ke, Denis Côté, and Bong Joon-ho.
The grand prize went to the Japanese film Good Morning to the World!, by Hirohara Satoru.
More details here. Congratulations to the winners!
My Film and My Story.
Vancouver is unusually hospitable to shorts and features by newcomers. Two of this year’s D & T offerings illustrate how talent, unlike youth, is not wasted on the young.
A cinémathèque featuring classic films is about to reopen, and the manager has hired some twentysomethings to help her get things into shape. The result a network narrative: romantic rivalries, coming-of-sexual-age crises, the race to set up the screening space, and even a ghost story are woven together as the big day approaches. The film is split into eight chapters, each given an emblematic movie title. Two petty thieves interview for a job under the aegis of “Stranger than Paradise,” and an apparent love triangle is christened “Jules and Jim.” The cinephilia shapes the plots too, as when one boy gets the courage to kiss another after watching Happy Together.
My Film and My Story was a group project of students at the Art and Design School of Konkuk University in Seoul. Their professor proposed that each student write a script about the opening of the cinematheque, and the results were integrated into a single feature-length story. There were seven student directors, one per episode; a producer contributed an extra chapter. Most directors were on the set all the time, making suggestions and trying to fit bits together. (“We fought a lot.”) The remarkable visual consistency—smooth cutting, tight framing, and well-modulated lighting—came from the single director of photography. As the title suggests, some of the tales are based on incidents in the lives of its makers.
The film, presented in Vancouver by two of the directors, Hong Youjin and Kim Taeho, is a lively charmer, with plenty of comedy and pathos. The characters are quickly introduced, and there are nice touches of movie-nut satire. One girl with big spectacles saves all her ticket stubs, takes notes on every movie (I can identify), and is annoyed when a boy drapes his leg over the seat in front of him. The episodes make tactful use of digital techniques, particularly in one shot that fuses past and present through the classic color/ black-and-white disparity.
My Film and My Story wasn’t in the official young-film competition, but Icarus Under the Sun was. For once the ragged style of handheld video justifies itself in a tale of a girl who quits school and heads for Tokyo to work in a seedy mahjong parlor. Haruo rooms with a flighty roommate and her boyfriend, but becomes more attached to the workers in the parlor and the owner, a nearly blind, taciturn man for whom she conceives an almost daughterly affection.
The plot barely rises above anecdote, but it’s continually engaging through its focus on the performance of Abe Saori, one of the two directors. Haruo explains that she is “addicted to walking,” and some of the best scenes involve conversations during late-night wanderings in the bitter cold.
Starting out fairly choppy, the narration accumulates weight and breadth as Haruo becomes engaged in her work. The shots throughout are held rather long, but about halfway through, the scenes start to be built out of exceptionally long takes. When another worker, the boy Aran, takes sick, Haruo calls on him and we get an almost suspenseful treatment of her arrival in his apartment, with him lying almost motionless in a heap in the foreground.
The shot lasts almost four minutes as she comes forward to talk with him. Their subsequent conversation is filmed in a tight, leisurely shot as they eat burgers and explain their backgrounds—virtually the only exposition we get about Haruo’s troubled past.
The dingy look of many scenes carries a documentary conviction that a more polished work would not. And the rough texture is actually the product of patient care. Abe and her codirector Takahashi Nazuki explained that they spent ten months in shooting and two to three months in editing. But it’s no mere technical exercise either, since Abe calls it both a fictional film and a documentary about her experiences. Like her protagonist she spurned conventional schooling and went to Tokyo to live on her own. Rooming with Takahashi, she decided to make the film “to know certain shadows” in her life. Icarus Under the Sun is actually the duo’s second film, and they have already finished a third, the more technically slick Soft-Boiled Egg (Hanjuku tamago.). Another thing about young directors: They have energy.
Takashi Miike’s 13 Assassins is not what you might expect. Unlike your typical Miike item, this one throws no curves. It is an old-fashioned, butt-stomping, gut-slashing swordplay movie, with swagger to spare. Adapted from a 1963 film, it’s Seven Samurai plus six, with explosives.
True, there’s a Miike signature moment early on that shows what Lord Noritsugu has done to a woman’s body in his quest for piquant entertainment. But this horrifying scene serves a very traditional purpose: To prove to swordmaster Shinzaemon Shimada (and us) that Noritsugu has failed his duty as a leader and must be assassinated. He isn’t merely brutal. He lives an aesthetic of exquisite savagery. He has turned droit de seigneur into performance art. A massacre, he says with a fetching smile, is fun. He is a handsome monster. We can hardly wait to watch him die—preferably like a dog, in the mud, in agony.
Thereafter all that we want from a chambara flows forth in abundance. Unsurprisingly, the plot is framed by the man-out-of-time motif. Noritsugu’s depraved tastes show that the samurai tradition and the Shogunate government have become decadent. This might be a warrior’s last chance to die nobly—but for what? What deserves a man’s loyalty? Hard times have convinced Shinzaemon that the samurai class must ultimately serve the people. But his old rival Hanbei, Noritsugu’s right-hand man, clings to the notion that the samurai serves his master, unswervingly. Hanbei goes to his death committed to traditional duty. But his commitment is proved unworthy when his lord has a little fun with his severed head.
Miike faced a choice. He could have provided each warrior a vivid backstory, differentiating and humanizing each one as Kurosawa did. Instead, given a two-hour running time, he concentrates on strategy: How can a baker’s dozen of fighters defeat Noritsugu’s troops, which will eventually swell to 200? The solution is to maneuver Noritsugu’s men into a village filled with traps that will give the assassins some advantages—surprise, rooftop ambushes, and a deployment of livestock as ordnance. Things are enlivened by a feral hunter, mocking the samurai code while wielding a mean slingshot. After supplying a sketch of each of the thirteen assassins, Miike spends his energy on action. The muddy, gory battle at the climax lasts forty-plus minutes, and is worth every penny of your admission. Magnet, the genre arm of Magnolia, has picked up 13 Assassins for early 2011 release, and you should start thanking them already.
If Miike surprises by doing something normal, Zhu Wen’s Thomas Mao really does keep you guessing. It’s a pleasure to see a movie in which you can’t imagine what will come next.
At first, things seem to go by the numbers. To a remote Chinese farm comes the artist Thomas, to stay a short while and do some drawing. His wizened host Mao provides bed (after the geese are shooed out) and board (mostly corn on the cob). The trouble is that Thomas speaks no Chinese and Mao speaks no English. Every interchange is a pas de deux of misunderstanding. Thomas generously gives Mao some money. Mao refuses—not, as Thomas thinks, because he’s too proud but because Mao considers the amount insultingly small.
So we seem to have the small-scale cross-cultural comedy, making amusing points about people’s petty differences. Then the ghosts arrive.
At least, they might be ghosts. A phantom swordsman and swordswoman float around Mao’s farm and do battle, ultimately slashing off each other’s arms before disappearing, never to return.
There are aliens too, invading Mao’s cabin with pop-concert glow sticks. They’re totally unexpected, like the warriors, and their visit is even more transitory.
Eventually Thomas leaves, and the film starts over. The second part offers a sort of crazy-mirror image of what we’ve seen so far. Artist becomes model, model becomes artist, dog becomes Doggy. If you like the double-track story of Syndromes and a Century, you’ll probably like Thomas Mao, which is less rigorous but more funny. (The very title is part of the joke.) Zhu, who has reveled in comic byplay in Seafood and South of the Clouds, gives us that rare thing, a movie that is whimsical without being precious. You learn about contemporary Chinese painting in the bargain.
More whimsy, also not overbearing: When Liu Jiayin told me last spring that she was making a movie about a plastic fish, I didn’t know what to expect. The answer comes in the short film 607. Here the ballet of family hands seen in Liu’s Oxhide II becomes more playful. 607 is part of a promotional series of shorts by independent filmmakers, and it’s sponsored by a Beijing hotel, The Opposite House.
Mr. Fish, wielded by Liu’s father, swims around the tub, occasionally flirting with a mushroom provided by her mother. Eventually Mr. Fish is tempted by a hook (the curled finger of Liu herself). Will he fall for it? In all, you have to admire the coordination of three people shifting smoothly offscreen around the tub, each person’s hands sliding out of one part of the frame and popping in somewhere else—somewhere, I need hardly say, fairly unexpected.
PS 9 October: This entry has been corrected from its initial appearance. There I had written that Liu Jiayin’s 607 is one of three films she is making for the series commissioned by The Opposite House. Actually, the entire series consists of three films made by independent filmmakers. 607 is one of those and is complete in itself. Thanks to Shelly Kraicer for the correction.
DB here, with more from the Vancouver film fest:
Two of the more innovative films I saw evoked film history—one explicitly, the other obliquely. Raya Martin’s Independencia is part of a planned series devoted to the history of the Philippines, told from the bottom up. In this first installment, villagers flee into the jungle to hide from the American “liberation” of their islands. The film centers on a mother and son who, joined by a woman the son finds, create a new family. After years, the son and the woman have a child, but their new life is threatened by the encroachment of the invaders.
What sets Independencia apart is Martin’s effort to create the look and feel of a 1930s fiction feature. He shot the movie wholly in a studio, and the evidently faked backdrops are counterbalanced by gorgeously controlled lighting effects, and even dashes of color. Since virtually no Filipino films survive from this period, Martin gives us less a pastiche than a possibility, a sort of hypothetical archival film. The fact that the film makes aggressive use of Dolby sound, especially during a tremendous storm sequence, only adds to the sense of history being reimagined for today.
More traditional, at first glance, is Puccini and the Girl, a historical drama by Paolo Benenuti and Paolo Baroni. Facts of the case: In 1909, a maid in Puccini’s Tuscan villa, accused of being his concubine, committed suicide. But an autopsy revealed that she was a virgin.
The film’s reconstruction of what happened behind the scenes, tracing the veins of jealousy and deceit running through the household, relies on recent research into the tragedy.
At the same time, we have an homage to silent cinema. In most scenes we hear no dialogue: actors whisper at a distance from us, or simply conduct themselves without speaking. What words we do hear are recited pro forma (the Mass) or sung (in a waterside tavern, or in nondiegetic accompaniment). There is only one line of conversation, and that is given greater saliency by being a cry from the heart.
So we’re largely confronted with a silent film, accompanied by music and sound effects. To add to the estranging effect, characters communicate chiefly through letters and telegrams—exactly as in the films of the period. We hear the letters’ text read aloud, but the sense of stately compositions propelled by written commentary, distinctive features of 1910s cinema, remains. An unwitting homage, perhaps, but one that pleased this fan of classic tableau cinema.
Independencia was part of the Dragons and Tigers thread, one of the hallmarks of the Vancouver event. Year after year it gives an unequaled view of current Asian cinema. This year’s program, assembled by Tony Rayns and Shelly Kraicer, was at least as fine as ever. Eight films compete for the $10,000 prize given to first or second features. The winning film, Eighteen by Jang Kun-jae, centered on the familiar situation of teenage lovers separated by parents and school pressures. I didn’t see all the competitors, but my own favorite was Chris Chong’s Karaoke, a Malaysian story of a young man coming to terms with his mother’s decision to sell her karaoke bar. The first ten minutes are quite creative, disorienting the audience through complicated sound mixing, while the boy’s community, devoted to the production of palm oil, is presented with a documentary directness.
Outside the competition, I saw several Asian films of consequence. I’ve already discussed Yang Heng’s Sun Spots and Bong Joon-ho’s Mother. Ho Yuhang’s At the End of Daybreak marks a shift from his lyrical first feature, Rain Dogs, which I reviewed at Vancouver in 2006. A plot situation close to that of Eighteen is treated in much darker tones. A young man falls in love with a high-school girl, but he’s driven to murder by her growing indifference to him. The familiar elements of furtive sex, drinking parties, and demands from the girl’s family for reparations are given a noirish treatent. Ho’s admiration for American crime novels shows in his increasingly bleak handling of the affair. Here the femme fatale is a high-school girl, and the entrapped male’s revenge is complicated by an unexpected erection.
Also under the influence of classic crime films was Yang Ik-June’s Breathless from Korea (right). It shows a brutal debt collector coming to terms with his childhood. Under a harsh surface realism, the film has the contours of the familiar redemption of a hard case, including the decision to reform that comes a tad too late. (Whenever a crook vows that this will be the last time he pulls a job, wait for the ironic retribution.) I thought that the character parallels (two scenes of murdered mothers) were somewhat too neat, but the director plays the anti-hero with conviction and deadpan humor, and Kim Kkobbi supplies an exhilarating turn as the tough high-school girl who becomes his companion.
Bong Joon-ho has been something of a leitmotif on this site lately, with my comments on Influenza and Mother. Under the rubric “Bong Joon-Ho & Co.,” Dragons and Tigers screened a collection of shorts paying tribute to the Korean Academy of Film Arts. Most were from the 2000s, but Kim Eui-suk’s Chang-soo Gets the Job, dated from 1984. Focusing on a gang of teenage purse snatchers, Kim’s film was a little rough technically, but it built its story deftly. The quality of the rest was quite strong, with the grisly and wacky Anatomy Class (2000, Zung So-yun) being a high point. Meanwhile, Bong’s Incoherence (1994) shows that his urge to deflate official hypocrisy, seen in Memories of Murder and The Host, was already present in his student days.
My admiration for Hirokazu Kore-eda runs high, as I indicated in my discussion of Still Walking at last year’s VIFF. But Air Doll, while full of vagrant pleasures, left me unsatisfied. The Kafkaesque premise, derived from a manga, is that an inflatable saucy-French-maid dolly comes to life, endowed with speech and movement but retaining her seams and air valve (both of which will figure in the plot). Her sad-sack owner doesn’t notice the transformation, but while he’s at work, she takes a job at a video store and wanders the city.
The aim, I think, is to defamiliarize ordinary city life by seeing it through Nazomi’s eyes. The fact that a sex effigy is the most innocent character in the movie is part of the point. Makeup, money, and fashion start to seem extensions of sad, solitary eroticism, and the line between mainstream movies and porn gets blurred. But all the thematic elements didn’t blend very well, and at moments, as during the music montages showing people’s desperate loneliness, I worried that for once Kore-eda had slipped into conventional sentimentality. The tone also shifts, with a climax that revises the big scene of In the Realm of the Senses. Kore-eda deserves credit for his unflagging effort to try something fresh with every project, but here, it seemed to me, that the film was defeated by an overcute conceit and underdeveloped execution.
The most exciting Asian film I saw at VIFF was Liu Jiayin’s Oxhide II. Her first feature, Oxhide, was screened at Vancouver in 2005. (Full disclosure: I was on the jury that awarded that film the D & T prize.) This one seemed to me even better.
To say that this 132-minute film is about a family making dumplings is accurate but misleading. To add that the action consumes only nine shots makes it sound like an arid exercise. In fact, it’s a consistently warm, engaging—I don’t hesitate to say entertaining—film that is also a demonstration of how a simple form, patiently pursued, can yield unpredictable rewards.
In the first Oxhide, we saw the comedy and tensions of Liu’s life with her parents, who run a leatherwork shop. By the time she shot part two, they had already lost their business, but the sequel presupposes that the shop is still going, albeit coming to a critical point. So there’s a quasi-documentary aspect, as the family’s financial strains, discussed cryptically at various points, hover over the mundane process of wonton cookery. Yet although everything looks spontaneous, it was all completely staged—written out in detail, rehearsed over months, reworked in test footage, and eventually played out in “real time.”
And in real space. The first shot, which consumes twenty minutes, shows Liu’s father pummeling a hide in his vise and eventually clearing the table for serious food preparation.
Actually, the film’s subject is that table. On its surface, a meal is prepared; around it, the family gathers; we even see what happens underneath. We watch father and mother chop scallions, mince pork, twist and yank dough, pinch the dumpling wrappers around the filling. We watch the daughter try to match her parents’ dexterity. This is a movie about housework as handiwork, and family routines and frictions.
For minutes on end, we see only hands and arms; Liu’s 2.35 frame often chops off faces. Liu employed a construction-paper mask to create the CinemaScope format within HD video. Why the wide frame? Most filmmakers use it for expansive spectacle, she remarks; but “I wanted to see less.” And the horizontal stretch further emphasizes the table.
As if this weren’t rigorous enough, Liu has filmed the table from a strictly patterned arc of camera positions, dividing the space into 45-degree segments. These unfold in a clockwise sequence around the table. What could seem an arbitrary structural gimmick is justified by the fact that each setup proves ideally suited to each stage of the process. When father and mother team up to start the meal, the angle gives us two centers of interest. And Liu feels free to “spoil” her mathematical structure by varying the height and angle of her camera. Plates, bowls, and an articulated lamp become massive outcroppings in this micro-landscape.
Oxhide II is unpretentiously inventive, quietly virtuosic. Evidently it took a Chinese filmmaker (whose day job is writing TV dramas) to blend domestic life with the rigor of Structural Film. Liu displays the fine-grained resources yielded by several cinema techniques, from framing and staging to lighting and sound. The finished dumplings get constantly rearranged on the cutting board. Each family member has a different technique for pulling off bits of dough, and each gesture yields its own distinctive snap.
I had to think, almost with pity, of all those US indie filmmakers who believe they have to cultivate CGI and slacker acting, to seduce investors and strain for outrageous sex and edgy violence. Liu made this no-budget, low-key masterpiece over years in a single room, and with her parents. That’s a new definition of cool.
Liu promises us another installment. In the meantime, every festival that’s serious about the art of cinema should pledge to show Oxhide II.
Puccini and the Girl.
PS 12 October: Thanks to Matthew Flanagan for correcting an embarrassing typo.
PS 15 October: Thanks to Ben Slater for correcting yet another one!