Notes

Decision To Depart
Park is not any stranger to the competition, having won the Grand Prix for “Oldboy” in 2003 and final showing with “The Handmaiden” in 2016. Explore the history and individuals who run Cinema/Chicago & be part of the staff. See which films impressed critics on the just-concluded 75th Cannes Film... Here what at first looks as if curiosity, shortly turns into an obsession. An obsession that doesn't appear to be repressed and yet never explodes despite the actual fact that the 2 folks concerned are fully aware of the state of affairs, and both reciprocate their feelings. The only fault that may be taken from the movie is said to the script.
Watching this you probably can immediately see why he gained Best Director at Cannes Film Festival. As South Korea’s entry into the Oscars, this may be a cinephile’s dream film and will be talked about in movie lessons everywhere. 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 puts him right back where he left off, as a remarkable visual stylist who doesn’t all the time know when to cease however at all times knows tips on how to impress. And on Monday, veteran Korean director Park Chan-wook premiered his new film, “Decision to Leave,” as part of Cannes’ primary competition.
Determination To Depart (
But it’s still an amazing shot of pure Park — suave, refined and horny. Not to say very presumably the most effective erotic cop thriller ever. Like Seo Rae's gown, some people suppose it is green; others see blue. The wallpaper in her residence reveals patterns of mountain peaks, however upon nearer look, they seem like thousands of waves crashing into each other. The mountain and the sea seem so shut, yet are at all times out of every other’s attain. If the wise love the water and the benevolence the mountains, the lovelorn will at all times choose to remain behind in the earth.
As the very married Hae-jun seeks to remove the newly widowed Seo-rae as a murder suspect, sly flirtation evolves into a mutual recognition of kindred spirits, which blossoms into a forbidden, if chaste, love affair. If The Handmaiden was Park’s riff on the English drawing-room melodrama, Decision to Leave suggests Alfred Hitchcock’s Vertigo as filtered by way of an anal-retentive tackle Law & Order. An avid climber, Ki Do-soo (Yoo Seung-mok), has tumbled to his dying from a mushroom cloud-shaped mountain and hotshot detective Hae-Joon (Park Hae-il) suspects murder. As the police examine the scene, Park mounts a formalist show that must be the envy of even that grasp of cinematic murder investigations, David Fincher.
In one of many film’s many evocative pictures, Park emphasizes flashlights piercing the darkness of woods as seen from a bird’s-eye view, suggesting that the urge to discern the truth is sinister and futile. Following the grisly death of her husband, Seo-rae (Tang-Wei) fails to point out the standard signs of grief, prompting crackerjack investigator Hae-joon (Park Hae-il) to contemplate her a suspect within the man’s homicide. Over the course of a sequence of stakeouts and interrogations, Hae-joon is increasingly drawn to his magnetic, mysterious target.
"And I guess there's the similarity of actor Park Hae-il also having acted in director Bong's motion pictures ('Memories of Murder' and 'The Host')." "Decision" (now in theaters in New York and Los Angeles; expands nationwide throughout October) begins with a loyal longtime cop named Hae-jun (Park Hae-il) as he investigates a businessman's deadly fall from a mountaintop. The man's elusive widow, Seo-rae , is recognized as in for questioning and exhibits little emotion about her husband's demise, even laughing in the course of the police interrogation. But he has the last word excuse to spend time with her — he’s investigating her for murder. Not probably the most romantic of situations, however actually effective. A police investigation doesn't precisely make for meet-cute moments, but Park has a method of wringing drama and import out of almost anything; when Hae-joon questions Seo-rae in a police examination room after which sends out for sushi, it performs like a really odd first date.
At once a masterfully-crafted police procedural and an incisive meditation on the nature of love and identity, Decision to Leave is a tour-de-force of neo-noir filmmaking. Hitchcockian to its core, the film’s gleefully twisting plot keeps audiences guessing because it spirals towards an epic conclusion. Winner of the Best Director prize at the Cannes Film Festival, veteran auteur Park Chan-wook expertly weaves collectively each intriguing thread as he spins this haunting tapestry of murder, madness, and deceit. The reality is that the first half of this film, regardless of its very strong craft, has a script that could have been a Bruce Willis erotic thriller within the Nineties with barely a rewrite.
Motion Pictures
The unorthodox relationship on this film is potentially the one we’re most familiar with—an intimacy between a male detective and his female suspect. Hae-joon (Park Hae-il, who had a supporting role in Bong Joon-ho’s masterful procedural Memories of Murder) is a workaholic insomniac, a detective with a punishing commute and a clinical-feeling marriage. Park Chan-wook’s movies regularly concentrate on outsiders to common society, these trapped within restrictive roles and consumed with singular, destructive ideals. But what makes his work so reliably transcendent are the unorthodox relationships that appear between the people who recognise their own alienation in others. The plot is so pointlessly complicated that one can rarely savor the characters or luxuriate in the environment, as Park supersizes all the most interminable qualities of a typical procedural. Park Chan-wook believes all his films are romances at heart, but he deliberately leans into rom-com tropes with "Decision." Like many lonely rom-com heroines we've seen before, Seo-rae falls asleep in entrance of her TV with a pint of ice cream each night time.
Am a huge fan of Chan-wook’s films, but received a sinking feeling half-way via, that we had been in a cluttered, inchoate territory, and the experience was turning into more and more, considerably bafflingly, less-than-satisfying. Not in the identical league as The Handmaiden or Oldboy, IMHO. Like "Parasite," "Decision" had its world premiere at France's Cannes Film Festival in May and has been selected by South Korea as its official entry for this year's best overseas language film Oscar. But the two motion pictures couldn't be more totally different in style or tone. " Decision to Leave movie 's a very different crime film than what we're used to," Park Hae-il adds.

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So does the fact that Seo-rae, a Chinese immigrant, speaks restricted Korean, one thing Hae-joon accommodates by explaining rules and procedures as simply as possible. At first glance — and it rewards several glances — “Decision to Leave” appears to inform the story of a police detective and the gorgeous lady who upends his uninteresting, well-ordered existence. It’s a story of impossible longing, the kind that may undo a marriage, wreck a profession and ship ordinary people spiraling into an all-consuming obsession.
He just expresses those interests in a different way now, with delicate conversations in memorable locations, as a substitute of with the blunt finish of a hammer. He’s on the prime of his game right here technically, employing precise enhancing and audaciously creative camerawork to drag us into his characters’ minds. However informed by Hitchcock, “Decision to Leave” is pure Park Chan-wook — his earlier films embody the unique “Oldboy” and the erotic thriller “The Handmaiden” — via and through in form, style and temperament. And while Hae-joon may be outwardly driving the story, it's Seo-rae — and Tang’s devastating efficiency — who imbues “Decision to Leave” with its deep, then deeper wells of feeling. From the very first destabilizing moments of this movie, Park dazzles you with the beauty of his photographs and the intoxicating bravura of his unfettered imagination. And then, just if you assume you could have discovered your bearings, he unmoors you yet as soon as extra, blowing minds and shattering hearts, yours included.
As Hae-Joon snaps pictures of the corpse with his cellphone, ants crawl over the lifeless man’s eyes, a flourish that embodies damaged imaginative and prescient whereas suggesting that the macabre jokester that helmed Oldboy hasn’t left the building. It seems odd that homicide evidence can be gathered on a personal telephone, because it seems to be a readymade way to compromise an investigation, and Park needs you to notice the strangeness of such details, which set up the fragility of our hero. Hae-Joon isn’t ferociously competent within the tradition of Law & Order cops, however 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 comic reduction. 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 communicate, it's with an intimacy so profound that it seems like we are eavesdropping.
And there is not a better example of this experience than South Korean filmmaker Park Chan-wook’s Decision to Leave. Hae-joon has a wife that he solely sees on weekends, and before long Seo-rae becomes his companion the rest of the week, in a relationship that morphs from surveillance to seduction and turns her from a person of curiosity to an object of obsession. This is all specified by a tour de pressure of intricate filmmaking long on mood and drama and slippery adjustments of path. Am a huge fan of Chan-wook’s films, but received a sinking feeling half-way through, that we have been in a cluttered, inchoate territory, and the expertise was turning into more and more, considerably bafflingly, less-than-satisfying.
The Director is aware of how create low-cost jokes that could be confused for wittiness or boldness, but then one realizes that they only were thrown in and don't actually help carry the story. Hae-jun’s associate immediately suspects Seo-rae; Hae-jun himself is quick to defend her. It was most likely an accident or possibly even a suicide, right? And Hae-jun gets drawn into extra than simply the case as he surveils Seo-rae and turns into obsessed with her quirks. As he crosses the professional line to study more about Hae-jun, he starts to make errors, and Park cleverly embeds focus points into his story, whether it’s the morning fog of Ipo or the attention drops that Hae-jun has to make use of 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.
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Tang Wei is initially equally riveting, and the cat and mouse sport enjoying provides a sense of intoxicating hazard for both of them. But as every damning clue about Seo-rae is revealed, there seems to be a rational clarification from her perspective. When a chunk of evidence reveals itself, the diminishing sense of ambiguity allows him to remove himself from his curiosity and as soon as once more give attention to his marriage. His professional self-exile to the much smaller Ipo proves to convey back his insomnia and everlasting restlessness with a vengeance…until Seo-rae pops up once more.
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However, it doesn’t temper how confident, memorable, and eloquent Decision to Leave is. And just if you think the story has revealed itself, Chan-wook introduces a turn that reframes every little thing we expect we all know in regards to the characters and then puts them on a brand 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 simply as riveting and swoony.

And compared to the powerhouse first hour and crackerjack ending, the center section sometimes feels saggy. But it’s nonetheless an incredible shot of pure Park — suave, sophisticated and horny. Not to say very presumably the best erotic cop thriller ever. An early interrogation scene embodies all that’s right and incorrect 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 component that doesn’t immediately matter to his story.
In the tip, the spectator is -- similar to Hae-jun -- left incapable of getting the final verdict on Seo-rae, this ephemeral character within the foggy panorama. For Hae-jun, the ache is obtainable in the finest way thoughts of Seo-rae crowd into his thoughts unbidden, even while he is making love to his spouse. And then there’s the rising suspicion that this mercurial, sensible woman, who appears to have as keen an intuition for criminal psychology as he does, may be toying with him; that the unintended demise of her husband will not be what it initially appeared. “Decision to Leave,” which gained Park a directing prize at Cannes and will represent South Korea in the Oscars’ worldwide function race, is a movie of subtler, extra luxuriant pleasures. Compared with that unlucky octopus, the sushi here is each ethically sourced and exquisitely plated. And because the movie’s inextricably certain leads, Hae-joon (Park Hae-il) and Seo-rae , take pleasure in their meal in simple, companionable silence, you’d be forgiven for assuming they have been lovers or spouses, somewhat than a murder detective and his prime suspect.
The youngest officer ever to turn into an investigator within the history of his department, he’s perceived as one thing of a hotshot, permitting him flexibility. He’s drawn into her matter-of-factness, investing himself, perhaps greater than traditional, in her surveillance. Comfortably married to his spouse (Lee Jung-hyun), who he only sees on the weekends as their residence in Ipo is too removed from Busan, Hae-joon has on an everyday basis he must nurse an obsession. His partner (Go Kyung-pyo), is more suspicious of the lady, in part because of Hae-joon’s preferential remedy of her, which eclipses the attention they also have to devote to a different long-gestating investigation. Seo-rae’s background is equally mysterious, a Chinese nationwide whose grandfather from Manchuria was awarded citizenship as a outcome of his service for Korea, allowed her to remain in the nation when she illegally migrated.

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