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Retrieved While the life of Shin Yoon-bok , one of the most acclaimed artists from the Chosun Dynasty , is in the spotlight thanks to popular soap opera Painter of the Wind , starring Korea's sweetheart Moon Geun-young , a film that deals with Shin's life is also coming out. The Korea Times. The upcoming movie Portrait of a Beauty is also spotlighting the painter's life, starring actress Kim Min-sun.

The movie is drawing anticipation from the public, as its poster has become one of the hottest teaser promotions. Archived from the original on 23 July Actress Kim Min-sun won a legal battle Tuesday, started by an American beef importer for an article she wrote two years ago on her private blog that allegedly exaggerated the risk of mad cow disease associated with U. Actress Kim Min-sun speaks out on behalf of entertainers named in the explosive 'entertainment X-file' at a press conference Friday.

Archived from the original on 30 September Actress Kim Min-sun, 30, who was sued over comments she made regarding U. She has completed all legal procedures to make the change, it said. Korea JoongAng Daily. Kim Min-sun". Arirang News. Actress Kim Gyu-ri". I think I like short dramas because it allows me to make a lot of attempts and come across various stories.

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And speaking of criticism, when people ask me about my writing, I tell them although I write reviews and criticism, what I write are more like essays inspired by the film. And I love how Hong's films push me to write like this. I don't expect everyone to get as much out of Hong as I do.

I know that some people find his constant returning to the "same" theme over and over again monotonous and elitist. As if speaking for those critics during the opening scene, after Sang-won exhibits the "dodging the issue" behavior so important to Hong's men, Sang-won's older brother chastises Sang-won saying "That's typical!

Regardless of how "real" events portrayed in Hong's films might seem, I think of his films as not necessarily depicting real life but something deeper than that. They depict "philosophical life". And such is a life worth living. And one worth dying for as well. Their performances work from dance in how they move their bodies and from music in how they manipulate their boards in ways that arouse percussive slaps, clicks, clacks, grinds, and carves upon the metal and concrete that makes a city.

They are athletes in how they exploit, to create a word working off Pierre Bourdieu's use of "social capital", their kinesthetic capital, that is, the physical resources afforded them by their youthful bodies. From our teenage years to our twenties, our bodies allow for greater physical creativity since we possess greater energy and flexibility.

Also, our bodies during this age span are better able to recover from injuries that at times result from such exploits. And skateboarders are guides in how they "read" cities. As Iain Borden illuminates in his wonderful book, a book I'd been wanting someone to write for years, Skateboarding, Space and The City: Architecture and the Body , skateboarders interact with a city and its structures differently than the rest of us.

They reinterpret and reclaim spaces forgotten or ignored, they re-familiarize us with spaces so ubiquitous that we've blocked them out of our minds until skateboarders thrust these spaces back into our consciousness, and they revision what uses spaces encourage. They approach modern architecture ".

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Photo puck my pussy teen nude They are not interested in the entire structure, but pieces of it. They do not exploit the buildings as they were initially devised, as mazes to direct us through our day.

Instead, they exploit the textures of a space. Since skateboarders read a city through their bodies acting upon the city, they can help us read our cities differently if we'd only bother to learn from them like Borden has. In-line skaters of The Aggressives variety can read cities similarly to skateboarders.

And this is what I was hoping for from Jeong Jae-eun 's second feature. In her masterful debut, Take Care of My Cat , Jeong brought us into the lives of five girls as they crossed into womanhood while negotiating a space for themselves within the opportunities and constraints available to them as young, Korean women in their city of Inchon.

Along the way, Jeong provided us with many other fascinating observations, particularly how these young woman utilized technology in their relationships. Since in-line skating is also a technology, I was expecting a similar narrative use of this mechanical technology as Jeong afforded the computerized technology of cell-phones. Sadly, what I found instead were moments of promise that were never fully mapped out, nor as expertly intersecting, as they were in her debut.

This crew includes a stock group of characters, the lothario, the comedian, etc. Mogi Kim Kang-woo - Silmido , Springtime , which is Korean for "mosquito", is the rebel who just wants to skate for fun. For those who have seen Stacy Peralta's documentary about the second-wave of skateboarding, Dogtown and Z-Boys , and the fiction feature that spawned from it, Lords of Dogtown Catherine Hardwicke, , Mogi would be comparable to the skateboarding legend Jay Adams.

Soyo is positioned in between the father figure and the rebel during a scene where the two other characters have a fight. Soyo will mimic the style and attitude of each of these characters in front of a mirror in the next scene, underscoring the over-arching theme of the film: As there must be a love interest for whom these characters can also fall, but, thankfully, this is not your typical portrayal of a teen movie love interest , we also have Han-joo Jo Yi-jin.

She aspires to direct an in-line skating video, so she follows these boys with camera in hands and skates on feet, just like Spike Jonze did before he got into John Malkovich's head. Although aspects of this subculture are touched on, the artistry and the style which are filmed very well , the skating for fun and identity, the battles with police and the public, etc.

Yes, one could argue that, since in-line skaters experience the city through bricolage , what Eithne Quinn explains in her book Nuthin' But a "G" Thing: The Culture and Commerce of Gangsta Rap as when ". But that, similar to what I wrote about the inferior film Looking for Bruce Lee Kang Lone, , would seem too much like rationalizing a greater significance out of this film than is justified.

And although the sound design is exquisite when the skates meet the concrete, in stark contrast to Take Care of My Cat , the soundtrack is pretty lame compared to the former film's lush, perfectly syncopated, cell-phone-like melodies. In the end, like skaters to a city, I can take bits of enjoyment from pieces of this film, but Jeong doesn't seem to have taken care of this film as well as she did her debut.

Still, she's entitled to hundreds more falls since she already found artistic success with her very first effort. Mun-hee is arrested and sentenced to hours of community service for having sex with a minor, but upon her release Hyun meets her in front of the police station and they go to a love hotel for several more days of exhausting sex.

Eventually, doubts begin to creep into Mun-hee's mind, and she declares that their affair is finished. Hyun is persistent, however, and soon their relationship enters a new phase. At first Park Chul-soo 's Green Chair sounds like a fairly straightforward tale of sex and the occasional pang of guilt, but it ends up being much more interesting than that.

The film's first reel is highly explicit, and will turn off a lot of viewers, but later things settle down and we get to examine all the little details of Hyun and Mun-hee's unusual relationship, from Hyun's talent for cooking to Mun-hee's preference in mattresses. The film presents such details with warmth and humor, resulting in a nuanced, touching, and subversive love story.

As in many of his previous features, such as the grisly "cooking" movie , or the ob-gyn extravaganza Push! This turned into a problem for Green Chair when its investor, Hapdong Film, decided it was too bizarre to hold any commercial potential, and shelved it. That was in , and it was a year and a half before interest expressed by festivals such as Sundance and Berlin managed to rescue it from obscurity.

Apart from Park's inimitable style of directing, Green Chair draws strength from its great cast. Suh Jung, best known from Kim Ki-duk's The Isle , brings a slightly unhinged vitality to the character of Mun-hee; while newcomer Shim Ji-ho plays Hyun as passionate and self-confident beyond his years.

A special treat is the appearance of ultra-cool actress Oh Yun-hong The Power of Kangwon Province as Mun-hee's friend -- the warmth and camaraderie the three characters share is one of the film's key strengths. Perhaps the most interesting part of Green Chair is its bizarre cocktail party resolution.

I don't want to give away the details, but Park manages to address the tension created by our unconventional couple in a way that is both matter-of-fact and completely unexpected. The scene is also a fitting reflection of how face-saving and self-interest lie just beneath the surface of society's debates over morality.

Despite his status as a veteran director, Park has always shown a youthful glee in poking at society's sore spots. Green Chair represents one of his most successful efforts in doing do. Initially, Hong is polite and demure to the point of idiocy against Yu-rim's lecherous advances, which quickly runs the gamut between workplace sexual harassment to outright date rape.

However, the tables are turned in an unexpected way when Yu-rim accidentally runs into Hong's personal secrets, and when the details of their "love affair" are posted on the school's internet message board. Rules of Dating was a sleeper hit of the early summer season, raking in more than 1. Both films are sexually frank, morally challenging, quite funny and moving at times and driven by great performances by male and female leads.

They are also not nearly as well put together or coherent in design as their defenders make it out to be, and neither is as "progressive" or "honest" as its filmmakers in this case screenwriter Go Yun-hui and director Han Jae-rim probably think it is. Rules of Dating is an undeniably entertaining and even thoughtful film, but let me be clear about one point: The complacent thoughts that drifted into my brain in first 35 minutes about which direction this movie was likely headed were rudely betrayed to my pleasant surprise, I must say by what happened next.

Hong's eventual fate in the story can either be interpreted as the Triumph of Evil Witch or Just Desserts for All Concerned, depending on your own perspective, and not exactly following the battle lines drawn across the gender divide either. Gang is wonderful as Hong, looking far less like an anime shojo and comfortably inhabiting the body of a harried and stressed working woman, but it is the transformation of Park Hae-il that will draw attention among fans.

It is indeed difficult to believe that this is the same actor who played the lead in Jealousy Is Middle Name. As embodied by Park, Yu-rim ironically named perhaps, since it can also mean "Confucian scholars" is a total, irredeemable slimeball. When he approaches Hong and plays "cute," with Park's patrician voice now stickily rolling off his tongue like golf balls greased in a vat of K-Y Jelly, you will be both laughing until your sides hurt and resisting the urge to throw up.

The amazing thing is that, like Hong, Park's Yu-rim is a completely believable character in the Korean context, a fascinatingly disgusting or disgustingly fascinating, take your pick combination of taekwondo -kicking-under-the-blanket machismo , uncommunicative obtuseness, irresponsible immaturity and, yes, boyish charm.

On the other hand, the movie suffers from a certain narrowness of horizon, both stylistically and content-wise. Director Han does a superb job with the actors but unfortunately abuses that super-trendy, nausea-inducing hand-held style that looks as if "the cameraman is jerking off or something," as Roman Polanski reportedly once said as well as the jump cuts that snip away in the middle of a character's action.

The screenplay cried out for the kind of expressionist cinematic technique counterpointing the absurdity and nastiness of the superficially "funny" exchanges, but as it is presented, the mise en scene becomes repetitive and, eventually, tiring I assume this attention-deficit editing style was not suggested by the veteran editor Pak Kok-ji.

And the movie appears to ultimately hedge its bets regarding the possibility of a real romance brewing out of such politically and emotionally charged set-ups, involving sexual abuse, invasion of privacy and manipulation of ethics codes. When Lee Byung-woo's pleasant score accentuates the romantic mood, we are left unsure whether to take it at face value or in an ironical way, as a snickering commentary on the impossibility of true romance.

Rules of Dating is a gutsy film, very funny with nasty undertones in that regard perhaps closer to a Hong Sang-soo film in spirit than the aforementioned Jealousy Is My Middle Name. It is best appreciated by those not easily offended and getting tired of mock-CF "rom coms" with the disease flavors of the months, and will make good fodder for post-screening discussion among friends and couples.

What is the monster that opens its mouth wide and gobbles up your foot every morning? A shoe, of course. Abandoning her affluent suburban life, she moves into a decrepit studio apartment with her six-year daughter Tae-soo Pak Yeon-a. Her life, however, plunges into an abyss of paranoia and nightmare after she picks up a pair of pink shoes Hans Christian Andersen's cruel fairy tale Red Shoes , on which the film's premise is obliquely based, has mostly been known as Pink Shoes in Korean.

Don't ask me why lying about inside a subway car. Not only have this pair of shoes apparently performed wholly unnecessary amputation surgeries on the select individuals foolish enough to don them, they also become objects of unhealthy obsession for the ballet-dancing tyke Tae-soo. Unfortunately, this obsession is shared by Sun-jae.

Soon mother and daughter are screeching and pulling each other's hair over the possession of the high-heeled monstrosity, which turns out to have an awful backstory reaching back into the colonial period. To my initial annoyance, it looked as if Red Shoes would follow the tiresome path of a "cursed object" exerting supernatural influence over the characters, substituting a pair of cursed shoes for a cursed cell phone, a cursed webpage, a cursed D-cup brassier and whatnot.

However, it soon became clear that the "meat" of the film's horror was to be found in its unflinching exploration of psychology of the central protagonist, Sun-jae, as a divorced single mother full of unacknowledged emotions and desires. This is not really surprising, given that director Kim Yong-gyun 's debut feature was Wanee and Junah , both disturbing and sweet in its measured engagement with the story of an unmarried couple.

Like Kim Hye-su's previous film Hypnotized , Red Shoes is visually arresting, occasionally reaching out to the realm of exquisite and enigmatic beauty. Some of the ideas, such as the flurry of snowflakes that turns pink and then blood-red, are simple yet effective. The sequences set in the subway station, under the eyes of DP Kim Tae-gyung director of the unfortunate Ryung a.

Art direction by Jang Bak-ha and Im Hyun-tae help create the oppressive yet strangely gorgeous Modern Gothic world, with spiral staircases, blinking fluorescent bulbs and blue-green shadows pooling in the corners of a workspace or a child's bedroom, contrasted against the archly theatrical, red-and-khaki-draped colonial decadence in the dialogue-less flashback.

The pro-Japanese Empire "propaganda" dance performance that climaxes the flashback sequence is, perhaps ironically, the movie's most beautiful set piece Lee Byung-woo Tale of Two Sisters , Untold Scandal blends pipe organ, vocal murmurs, buzzing electronic noise and other elements into another of his great film scores. Nonetheless, the film is ultimately a frustrating experience.

As Darcy has pointed out in a recent Cine 21 piece, Korean horror films cannot seem to resist adding last-minute "revelations" that supposedly "explain" the character's weird behavior, Swiss Cheese holes in the plot, and other uncertainties and irrationalities. The result is usually more confusion, not less, on the part of the viewers.

Red Shoes has one of these groan-inducing, utterly redundant Final Twists, revealed a good five minutes after the film's emotional climax has been reached. And if you could figure out just what in the name of Baby Jesus' diapers has actually happened to Tae-soo at the end, then you are either a telepath attuned to the brainwaves of writers Kim Yong-gyun and Ma Sang-ryul, or endowed with, shall I say, very active imagination.

Ironically, it was director Kim's assured command of "routine" horror mechanics, rather than his "arthouse" sensibilities, that really held the film together and kept my interest going, at least until the depressingly familiar denouement. On the other hand, Kim Hye-su's fans will be pleased, as Sun-jae's character is an excellent showcase for her acting chops, far more so than Hypnotized , where she faced an uphill battle against her electric-storm hairdo.

How we are supposed to respond to Sun-jae herself constitutes a more difficult problem. Caught between the cold bastard of a husband and the cocky and smarmy boyfriend, she could be seen as a portrait of a contemporary Korean woman yearning for self-realization and fulfillment of basic desires, even at the risk of destroying her family and social life.

In the end, however, the filmmakers seem to prefer the other interpretation, essentially accusing and sentencing Sun-jae for the sin of being truthful to her desires. In this sense, too, Red Shoes , despite its artistic gloss and undeniably creative touches, perhaps remains a conventional horror film, ultimately unable to illuminate the hidden recesses of the female mind.

Next morning, she wakes up from a seeming trance. To her shock, Young-uhn learns that she is dead and cannot leave the school grounds. She succeeds in communicating with her best friend Seon-min Seo Ji-hye , a school DJ, who can hear her voice. Aided by the school's resident psychic girl Cho-ah Cha Ye-rin , Seon-min attempts to uncover the mystery behind her friend's death.

The latest installment in the successful "The Girl's High School Horror" Yeogo gwedam series is a refreshing departure from the current flock of East Asian horror films. Even though some of the film's plot elements --two close friends whose relationship becomes strained, flirtation with lesbianism and so on --are reminiscent of Memento Mori , generally thought of as the best of the lot, Voice is in fact a unique film that stands on its own.

To explain the film's strengths without spoiling its content is difficult. However, I can state right off the bat that the Big Revelation that dutifully turns up near the ending is not one of them. I won't bore you with yet another ranting about how Korean horror film's obsession with the Big Revelation is turning into an Achilles heel The young actresses, while competent and hard-working, are not spectacularly impressive compared to some of the series alumni: The film's pacing is deliberate, with a lot of exposition through dialogue: DP Kim Yong-heung and director Choe Ik-hwan the assistant director for Whispering Corridors confine the action rigorously to a few sets, going for theatrical, medium-distance shots instead of the expressionist style that currently predominates Korean horror cinema.

Lighting and sound design are superbly done, however, working with the muted, toned down palette and showing admirable restraint in illustrating the presence of the supernatural. What makes Voice interesting is its unusually thoughtful and melancholy approach to death. The film dares to show the isolation and loneliness of the dead.

Indeed, the film's terror is mostly visited upon on the dead, when they must face the Ultimate, Unknowable Darkness, the portal leading to which is an ordinary elevator door. Director and screenwriter Choe wisely trims the usual boogaboo scare tactics to the minimum and instead puts a lot of energy into the visual recreation of more abstract ideas, such as le temps du loup as a spiritual realm through which the dead can review meaningful moments in their lives.

As the film progresses, it becomes increasingly clear that Voice is working its way toward a tough question perhaps seldom honestly answered in conventional horror films: The movie's answer to that question has a ring of truth that you won't find in many other horror films. The dead want neither revenge nor truth: Therein lies the true horror as well as the true sadness of the situation.

Voice , in its own unassuming way, is an earnest reflection on the terrors and sorrows of the teenagers faced with the overwhelming mystery of Death. I could be wrong, but it looks likely that the fat lady will be long time coming to sing the final aria for the Yeogo gwedam series.

They are first released in theaters where they are almost immediately stolen by pirates and scattered across the internet. If the movie was exceptional in some way, it may participate in a film festival before or after its general theatrical release. Mokdugi Video first appeared on its own pay-per-view internet site in where it was seen by thousands and developed a cult following.

The next year, it was screened at film festivals, including the Jeonju International Film Festival. Later that same year, the movie was shown on television and finally, in the summer of , Mokdugi Video was given a limited release in general theaters across the nation--an astounding feat for a film which clocks in with a running time of less than one hour. This unique path can be credited to the strength of the simple plot and the story-telling technique that leaves the viewer doubting what we know to be true.

It was never any secret that Mokdugi which means 'nameless ghost' Video is a mockumentary. It is a completely fictitious tale told in the style of a serious documentary. However, even that knowledge did not stop people from asking each other if any part of it was real when the credits rolled. The story is based around a mysterious image that briefly appears in the background while a hidden camera records a couple having sex in an old motel.

The appearance of this blurry image is so brief that the film-maker replays it several times and even circles the area we need to be looking in order for us to see it. The ghost makes surprisingly few appearances but they are enough to send a curious documentary crew to research the apparition. Their quest to identify the ghost sends them across the nation and into the realm of insanity and terror as they discover that the shoddy investigation techniques of the police decades earlier may have left a mass murderer free to roam the streets.

After first watching the film in the spring of , I had written on the discussion board of Koreanfilm. That evaluation remains true after a second viewing a year later. The calm, matter-of-fact manner demonstrated by the ghost hunting crew helps to add a sense of journalistic realism to the film. The sole exception is a scene with a shaman and the resulting confusion of this short segment threatens to derail the carefully built up atmosphere.

Imagine how easily the terror and gritty realism of The Blair Witch Project could have been dispelled had Heather hired a 'psychic investigator' who screams at some point in the film, "I sense Eeevil here! Instead, they take on the role of investigators, a kind of paranormal CSI , in their search to attach a name to the phantom visitor and to discover what causes him to haunt the motel.

And that is where the true power of Mokdugi Video lies. It demonstrates how easily something that is completely false can be built up on the flimsiest of evidence to become what seems to be true. When you get the chance, snap up this DVD, enjoy it right to its hair-raising conclusion as it draws you into believing the impossible.

Then consider how these same techniques are used on us every day in everything from media to religion and from advertising to politics, in a far more frightening way. A recent graduate of Dong-a University, Korea's leading college for film studies, director Yun Jun-Hyeong has a few other short films under his belt including Over and Uchu Fracachia

Japanese Ladyboy with the most wonderful penis and cumshot Views: Antarctic Journal has its share of problems but neither its stars nor its technical staff can really be blamed for them. The movie is drawing anticipation from the public, as its poster has become one of the hottest teaser promotions. Brandi Love videos.

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Although some of the interviews appear to be staged soliloquies, others appear to be very sincere. China Mami 4 Views: Please excuse Professor Kim, who ranks as perhaps the world's most devoted Park Chan-wook fan, for the considerable length of the following review. Training Instructors Views:


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