Notes

Choice To Leave Evaluate: Park Chan-wook Mixes Crime Story With Love Story
Watching this you'll have the ability to immediately see why he received Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, it is a cinephile’s dream movie and will be talked about in film lessons in all places. It’s Park’s first movie in six years, following a post-“Handmaid” detour to do the English-language TV miniseries “The Little Drummer Girl.” And it places him right back the place he left off, as a remarkable visible stylist who doesn’t always know when to stop but at all times knows tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new movie, “Decision to Leave,” as part of Cannes’ major competition.
Her "meet-cute" moment with Hae-jun is during an interrogation, when he orders a takeout sushi dinner at the police station and they have their "first date." Later, they're caught in the rain and share longing appears underneath an umbrella. He’s identified for his in a single day stakeouts, which are largely a function of his lack of ability to sleep. He may as well do one thing along with his time, so he sits outdoors Seo-rae’s house and watches. A sensation, beginning from the again of the cranium, accompanied by a wave of gooseflesh and a heart flutter as dopamine floods the neural pathways. Within the province of cinema, it’s an extended sought-after, usually elusive feeling, one induced by the conclusion that a grasp artist is at work.
No one ever wanted to go away however all the time having to pass by. Hae-jun’s associate immediately suspects Seo-rae; Hae-jun himself is fast to defend her. It was probably an accident or maybe even a suicide, right? And Hae-jun will get drawn into more than just the case as he surveils Seo-rae and becomes obsessed with her quirks.
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But as he digs deeper into the investigation, he finds himself trapped in a web of deception and need. That feeling kicks in at around the four-minute mark, when Hae-jun (Park Hae-il), a Busan police detective, arrives at the foot of a mountain peak to examine the body of a person who has fallen to his demise. The exacting strategies of Hae-jun’s investigative techniques mirror Park’s formal ones, as Decision to Leave unfolds with the meticulous care and playfulness of a director in complete management of his talents. The lifeless man, a retired immigration officer, has a younger wife, Seo-rae , whose appearance at the morgue to identify her husband’s physique lights the spark of an obsessive love, igniting an extremely tangled fuse.
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Fortunately, though, it’s a Park Chan-wook erotic cop thriller. So, as well as there being zero dance-offs in naff jumpers, the top result is a stunningly shot, cleverly orchestrated and psychologically nimble story, which single-handedly revitalises one of the hoariest subgenres of all. In many homicide mysteries, "the detectives are often too violent or too good," Park Chan-wook says. Police query the man’s wife, Seo-rae , who does not appear sufficiently upset by her husband’s sudden demise to satisfy one of the detectives. Hae-jun doesn’t discover it a compelling reason to make her a suspect — it seems Seo-rae’s husband was not exactly an upstanding gentleman. Besides, Hae-jun says, his wife would in all probability react the identical method.
In the tip the plot appears both pointless and unsatisfying. Decision to Leave is something that could presumably be categorized as a love story. One that's far from simple, but not really sophisticated both. A spry police procedural fused with an achingly intense romance, Decision To Leave keeps you off-kilter all through, in the very best means. Verified evaluations are thought-about extra trustworthy by fellow moviegoers. I watched this utterly unknown about its plot nor style.
In Regards To The Film
"'Parasite' and 'Squid Game' performed a giant position on this," Park Chan-wook says. "There's not as much nudity, violence or provocative parts that people assign to my works," Park Chan-wook says, talking via a translator at a Midtown resort earlier this month. Here's what else you should know in regards to the Oscar hopeful.
Throughout, one usually feels the plot working in opposition to Park’s poetry, although in a couple of instances poetry wins out, especially throughout a beachside disappearance that, rife with gurgling waves and inchoate agony, suggests the climax of Robert Altman’s The Long Goodbye. Here, a close-up of a hand closing, sealing its fate, is heartbreakingly lovely. It’s a pity that we barely know why the proprietor of this hand is compelled to die to begin with. An early interrogation scene embodies all that’s proper and wrong with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to every component that doesn’t instantly matter to his story.

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Even if Hae-jun and Seo-rae have been in different places in several instances, Park continuously cuts their looks together. As a outcome, there is this steady impression of a gaze that defies dimensions of space and time in the poetic house of the movie. By means of enhancing, Park creates a luring kaleidoscope of ambivalent feelings. At instances, this formal method might make the following of the story a little difficult for the spectator, but the facts of the story don't in the end appear to matter that much.
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However, it doesn’t mood how confident, memorable, and eloquent Decision to Leave is. And simply whenever you suppose the story has revealed itself, Chan-wook introduces a flip that reframes every thing we expect we all know about the characters and then puts them on a new path that carries the movie into surprising territory. The change only amps up the longing and star-crossed unpinning to Hae-joon and Seo-rae’s unconventional connection. Park Hae-il and Tang Wei conjure main In the Mood for Love energy that’s just as riveting and swoony.

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Park’s movies, whether or not they're his propulsive and violent “Vengeance Trilogy” of “Sympathy for Mr. Vengeance,” “Oldboy” and “Lady Vengeance” or the statelier and sultrier “The Handmaiden,” are nothing if not fashionable. He’s one of the accomplish visual stylists in worldwide cinema, managing to make even the most prosaic areas in “Decision to Leave” – a police station, a parked car – look alluring and dramatic. Park Chan-wook’s newest, a few forlorn detective falling for his beautiful suspect, is an exuberant, destabilizing tackle a classic film noir setup. A have a look at Decision to Leave, a middling yet watchable film from the legendary master Park Chan-wook – a cop/criminal love story that falters however occasionally fascinates. Decision to Leave stokes admiration for the inventiveness of a cross-fade, but fosters our profound apathy toward basics like the id of a murderer or the stirrings of the forbidden lovers.

But, as together with his earlier THE HANDMAIDEN, Park reloads proper because the film appears to be winding down. It was not dangerous nevertheless it was not on the level of park chan woak it only had great performing and nice cinematography and great music but the plot was not good and it was not even a thriller movie the ending was good but not one of the best . Finally i recommend you to look at it because it's from park chan woak however korean films in these later 2 years are not good so it's the greatest among those. Decision to Leave full movie is I think that you do not have to understand 100 percent of the plot to grasp the essence of the movie. The essence is that the movie is a combination of crime and romance, a detective falling in love along with his suspect. Although "Decision to Leave" treads on familiar terrain for Park, as a film about love and obsession, I must say that I enjoyed it more than some other film from him.
Park Hae-il's hangdog detective could also be a pleasure to observe around, but Wei is the heart and soul of the film. Radiant and but broken, the attractive Seo-rae is clever and sly, however in the end melancholic together with her tragic backstory and troublesome destiny, constantly caught up within the machinations of men on either side of the regulation. Park's good framing and the stainless cinematography from Kim Ji-yong mix to make every scene gorgeous, even when some are simple. The editing from Kim Sang-bum, a frequent collaborator with the director, adds wit and excitement to what otherwise might've been a much more simple romantic thriller. Park has a means of constructing linear narratives feel nonlinear, modifying scenes in surprising ways and chopping almost arbitrarily.
As Hae-Joon snaps pictures of the corpse along with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies broken imaginative and prescient whereas suggesting that the macabre jokester that helmed Oldboy hasn’t left the constructing. It seems odd that murder proof could be gathered on a personal phone, because it appears to be a readymade way to compromise an investigation, and Park needs you to note the strangeness of such particulars, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent in the tradition of Law & Order cops, but distractible and ripe for manipulation within the mildew of J.J. Park Hae-il is riveting as a storied detective knocked back on his heels by love, while his overzealous protege serves as a buzzing comedian relief. But Tang Wei dazzles as a woman who refuses to be pinned down by this lovestruck man or his want for black-and-white descriptors. When they speak, it is with an intimacy so profound that it feels like we're eavesdropping.
The Director is aware of how create cheap jokes that might be confused for wittiness or boldness, however then one realizes that they only have been thrown in and do not actually assist carry the story. Hae-jun’s companion instantly suspects Seo-rae; Hae-jun himself is quick to defend her. It was probably an accident or possibly even a suicide, right? And Hae-jun will get drawn into extra than simply the case as he surveils Seo-rae and becomes obsessed together with her quirks. As he crosses the skilled line to study more about Hae-jun, he begins to make mistakes, and Park cleverly embeds focus issues into his story, whether or not it’s the morning fog of Ipo or the attention drops that Hae-jun has to use to clear up his blurred imaginative and prescient. I do not get why this movie scores larger than Park's old boy and the handmaiden.
And compared to the powerhouse first hour and crackerjack ending, the middle section occasionally feels baggy. But it’s nonetheless an incredible shot of pure Park — suave, sophisticated and horny. Not to say very presumably the most effective erotic cop thriller ever. An early interrogation scene embodies all that’s proper and wrong with Decision to Leave. When Hae-Joon questions Seo-rae about her husband, Park, self-conscious that we’ve been watching variations of this sequence all our lives, devotes himself to each element that doesn’t immediately matter to his story.

Website: https://www.decisiontoleavemov.us/