By Kim Young-jin
This is often the most recent in Seoul Selection's sequence on Korea's score filmmakers. Written by means of Kim Young-jin, one in all Korea's ideal movie critics, the book-which comprises interviews, a biography, filmography and synopses-examines the cinematic international of Lee Chang-dong, largely hailed as one in all Korea's best administrators, regardless of having produced simply 4 motion pictures thus far. Lee's motion pictures embody the scars of Korean historical past and fact in addition to the illusory nature of the movie medium. His most recent paintings 'Secret Sunshine,' a comeback movie of varieties as Lee returns to directing after a stint as Korea's Minister of tradition, has been invited to the Cannes movie pageant. His filmography comprises 'Green Fish,' 'Oasis,' and 'Peppermint Candy.'
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Extra resources for Lee Chang-dong (Korean Film Directors)
It is a paradoxical device where fantasy and reality overlap and are subverted at the same time. In Peppermint Candy, having engaged in m assive fratricide during the Gwangj u D e mocratic Up r i s i n g in 1 9 8 0 , Yo ung-ho is traumatized by the historical incident. He is the archetypal scapegoat who has suffered at the hands of Korean history since the 1 9 80s. Through this archetypal figure, the film presents the Gwangj u massacre, the oppressive dictatorship, and greedy violent capitalism.
Mak-dong wants to escape to a better world, but only has a feeble grip on his own reality. When he is discharged from the army, his family ignores him while he brags about giving them a better future. He tells his mother, to no avail, not to work as a housekeeper. He lectures his sister, at the coffee shop where she's a waitress, not to work even though she gives him money. And in denial of his own failures, he visits his elder brothers to tell them to make their families happy. Nobody listens to him.
The following sequence shows the letter from Jong-du, now in jail, which recon fi rms the i r love . Their love smoothly integrates with the melodramatic conclusion but the viewer is left feeling uncomfortable due to the discord between the appearance and the essence. On the surface, the film mimics a melodramatic happy ending, overcoming conflicts and difficulties and achieving a happy union. But the ending emphasizes their pain and agony in a present progressive form. Their difficult love is located in a shabby reality-it's like the fantasy of the elephant walking in Gong-j u's house, although it's not clearly shown in the film.