[2005 YEAR IN REVIEW] Part 2: Korean Films

I'll remember the hilariously bad battle scenes in 한길수 (Mr. Haan), so inept they reminded me of an Atari ST game; I'll remember the strange and hypnotic power of 내 생애 가장 아름다운 일주일 (All For Love), which was marketed as a Korean 'Love Actually', but thankfully was more like a Magnolia without the frogs. I'll remember trashy but entertaining crap like 가문의 위기 (Marrying The Mafia 2), and surely even those films which failed to impress me or even disappointed me, like Hur Jin-Ho's 외출 (April Snow). But what will remain for a long time, carving a little space in my brain and staying there for many years, will be the emotions I felt watching my favourite films of the year. The devastating power of 주먹이 운다 (Crying Fist), 남극일기 (Antarctic Journal) and 친절한 금자씨 (Sympathy For Lady Vengeance)'s finales; the dark humour of 그때 그사람들 (The President's Last Bang) and 달콤한 인생 (A Bittersweet Life), the tender charm of 사랑니 (Blossom Again) and 깃 (Feathers in the Wind), and the rapturous, festival like feeling of 웰컴 투 동막골 (Welcome To Dongmakgol) and 형사 Duelist).

2005 was the year Korean Cinema matured, from an hyperactive little duckling messing with its neighbors to a beautiful swan, flying with confidence over the competition. While the industry still tries to adjust to the frenetic pace at which it's been growing, a few people are already leading a new 'boom', a new wave which might not be as financially influential as that of the 한류 (Korean Wave), but will nonetheless change the way Korean films are intended. Directors like Lee Myung-Se, Park Chan-Wook, Ryu Seung-Wan, Jang Jin, Bong Joon-Ho and Kim Ji-Woon have become the leading forces of a slowly emerging 'back to basics' movement, the kind of visceral flurry of emotions which has abandoned Hollywood decades ago, mixed with intelligence and tremendous production values. That, beyond any other possible trend emerging this year, is the most important factor influencing Korean Cinema in 2005. All the best films of the year, from 'Duelist' to 'Sympathy For Lady Vengeance', from 'Welcome To Dongmakgol' to 'Crying Fist', abandon the limitations and traps that genre creates to form their unique style, the non-genre, the fusion, or if you will, 순수영화 (pure cinema). Excitement, power, intensity... all raging with such strength they capture the viewer's imagination for weeks.

But of course last year was also a very momentous period in Korean Cinema. Here's a few of the major happenings, which shaped the last 12 months (well, 13 and a half, so to speak) in Chungmuro.

WITH FRIENDS LIKE THESE...

They say a happy family is more likely to argue, and if that's true, then Chungmuro must be a really, really happy family. We started the year with Im Sang-Soo's 그때 그사람들 (The President's Last Bang) and the controversy over the real footage of former President Park Jung-Hee. Every good 효자 (孝子, Filial Son) knows you have to defend your daddy's honour at all costs, even when daddy happens to be one of the most controversial figures in Korean History. So filial son Park Ji-Man did exactly that, lashing against Im's film and essentially forcing the production company to remove the footage from the film, which takes a couple of potentially very powerful minutes from one of the best films of the year. Now, politicians showing their true colours is nothing new, but when CJ Entertainment dropped their investment from the film, afraid of the potential backlash behind the scenes, then we started seeing the true colours of some majors in the industry. That a film like 'The President's Last Bang' was made at all shows how much Korea has changed, but the reaction of certain sections of the political and social sphere show that after all, the more things change, the more they stay the same.

But of course that was just the beginning, as halfway through the year, producers started pointing fingers at A-list actors for eating too much of the pie by themselves. More an embarrassment than anything which will help the industry in the long run (they could have certainly solved this behind closed doors, without naming names and making all film people in the industry lose some respect). That big stars have too much clout in the decision making and profit-sharing aspects of the business was something we knew already, but instead of worrying about people like Choi Min-Shik, who can essentially make an average film look like gold -- does 꽃피는 봄이 오면 (Springtime) ring a bell? -- and has worked hard for over a decade to reach this point, why not worry about the real problems? There's literally hundreds of criminally underappreciated staff members in Chungmuro, working like slaves for petty money, giving it all they have to make the films we like so much end up the way they are. Yet all we hear about are management companies influencing casting decisions, producers remote-controlling other directors in 'season films' (see summer horror) in exchange for offering them a quick way to establish themselves in the industry, and more. I might respect directors, producers and actors in the industry as much as the next guy, but every time I watch the extra features on a Korean DVD, what strikes me the most is the passion with which those people work, not worrying about the little pay they're receiving and the harsh conditions they have to work in.

And, although it might have unfolded in 2006, a big thanks to Vice-Minister Kwon Tae-Shin and all his posse for writing the script of the biggest 반전 (swerve) Drama of the year. After promising to protect the quota, they went out and got rid of it (well, not really, but it's pretty much dead with only 73 days), just one day before the Lunar New Year. It's not the fact they accepted the US government's ridiculous requests which makes films people in Chungmuro angry, but that they basically accepted their idea that films are trade goods like bananas, Teletubby dolls and Hyundai Sonata. What those who agree with the quota cut fail to see is that whether the quota had any effect on the industry's 'boom' or not is irrelevant. The quota is just a psychological barrier which convinces investors to put money in projects a lot riskier than normal, as the utopia of the screen quota saving their investment makes them accept the idea of spending money on something like 지구를 지켜라 (Save The Green Planet). Now, without the quota, the industry will not collapse. Hell, that 60% market share could become 65% in a couple of years. What could slowly die is the soul of Chungmuro, that which helps unknown first time directors like Im Pil-Sung go out and spend Billions of Won on something as ambitious and risky as 남극일기 (Antarctic Journal). The idea of adding 'competitiveness' to a cultural medium like films is akin to a trainer taking off the protective mask and gloves from a perky young 60 Kg fighter, leaving him alone to compete with a slow, ugly 400 Kg monster. What will he do to combat him? He'll eat lots of McDonald's and try to become another 400 Kg gorilla of his own. So while no quota might not necessarily mean no Korean films, in the future we're much more likely to find more 태풍 (Typhoon) than 웰컴 투 동막골 (Welcome To Dongmakgol) or 형사 Duelist). Indistinguishable one from the other, just like a bunch of bananas. And that's when people will start losing their appetite.

CRY ME A RIVER

Yet, along with all those problems, Chungmuro showed a lot of promising new changes. Perhaps the most striking one is how much melodrama has evolved. From classic tearjerkers of the 60s to agonizing dinosaurs like 편지 (The Letter), Koreans have always been in love with the genre, but this year's crop of melodramas showed a distinct new vibe in dealing with the tropes usually associated with the genre. From the 'omnibus' approach of 내 생애 가장 아름다운 일주일 (All For Love) and 새드무비 (Sad Movie), to the irreverent approach to sexuality of 연애의 목적 (Rules of Dating). And, with the possible exception of 'Sad Movie' (which I haven't seen yet, but has been trashed all over Korean press), all of them had something interesting to say. One of the best melodrama of the year was actually a little DV film shot on a shoestring budget, with a really small cast and super-simple location. Yet Song Il-Gon's 깃 (Feathers in the Wind) possesses moments of incredible beauty, the kind of subtlety and mysteriously charming atmosphere fans of Song's previous films know all too well. 너는 내운명 (You're My Sunshine), one of the genre's highlights of the year, showed that great acting can conquer everything, even the most predictable cliches, while 녹색의자 (Green Chair) showed what 'sweet sex and love' (the title of Bong Man-Dae's rather trashy 2003 flick with Kim Seo-Hyung and Kim Sung-Soo) really is. But the most striking melodrama of the year was Jung Ji-Woo's 사랑니 (Blossom Again), part tender character study of a woman reaching 30, part dreamy, feminist melodrama on the value of first love.

SCARE ME IF YOU CAN

On the other hand, horror fans met with pretty slim pickings in 2005. Increasingly losing interest in the genre, Korean directors now use it more and more as a door to big-time filmmaking. A quick, mid-budget, producer-driven horror film like 가발 (The Wig) can now allow young directors to show all their technical skills with little risk, as thanks to the influence of J-Horror the genre has become a sort of new age MTV-style blockbuster, with all its blue and red tones, and lavish production design. But while three of last year's 5 horror films were quite watchable, especially the fourth installment of the 여고괴담 (Whispering Corridors) saga, those films are distancing themselves from 'classic' horror more and more, coming closer to psychological thrillers (which is a genre I enjoy immensely, much more than horror, but still). It seems like the only real horror fan left in the country is good old Ahn Byung-Gi, whose 아파트 (A. P. T.) started shooting recently. But even though his film might change the cards a little, the box office failure of most of last year's horror offerings show the country's short lived infatuation with the genre is coming to an end.

THE POWER OF KANGWON PROVINCE (and Jeolla, Gyungsang...)

But the most surprising wind of change came from something few people expected: the 지방 (area outside Seoul). While the more 'sophisticated' Seoul watches more foreign films, and tends to favour 'well made' blockbusters from acclaimed International names, the countryside and regions like Jeolla and Gyungsang Province have shown an interest in more local productions. The success of gangster comedy 가문의 위기 (Marrying The Mafia 2) and the glorious 'ajumma thriller comedy' 마파도 (Mapado: The Island of Fortunes), along with minor successes like 강력3반 (Never To Lose) have forced distributors and producers to reconsider their plans. A big move towards low-to-mid budget human comedies targeted at the local public will invest Korean theaters in the next few months, and that's thanks to the increasingly diverging attitudes towards cinemagoing the capital and the rest of the country are showing. Personally, I think having entertaining crap like 'Marrying The Mafia 2' next to the Park Chan-Wook and Moon Geun-Young of the world makes for a more varied, tasty and interesting pie. And without this trend towards the local (with the other half of the industry going 'global'), we would never get a chance to see quirky gems like 고독이 몸부림칠 때 (Sweet Sixties), 마지막 늑대 (The Wolf Returns) and 'Mapado' itself (which inevitably was trashed overseas, because most of its charms lie in the hilarious saturi and the unique balancing of traditions and familiarity the Korean countryside can give).

THE FUTURE

2006 started with a bang, made of clowns and gangsters, but also the quota issue. Personally I don't think it will affect Chungmuro, at least for the next 3-4 years. What it will do in the future, nobody can possibly predict, but we're dealing with a ton of super-talented directors and actors at the top of their game, and a generation of filmgoers who support quality product (and sometimes they don't, looking at a certain gangster comedy releasing recently). Now all we need is producers to trust both the viewers and directors, letting them do what they do best: cinema which excites, moves and entertains us. The rest is up to destiny to decide...

You can also check our TV Drama Year End Review here.

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Gone But Not Forgotten
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Although HK Cinema fans suffered the most in the last few years, with the death of two shining lights like Leslie Cheung and Anita Mui, 2005 stole two very familiar faces who helped Korean Cinema become the force it is today, two people I still remember with fondness. A few words about those stars which recently stopped shining, at least on this side of the river...

이은주 (Lee Eun-Joo)
11/16/80~02/22/05

She came and went like a star. From 송어 (Rainbow Trout) to 주홍글씨 (The Scarlet Letter), and all her roles on TV, she was always different from the others. Seemingly distant at first sight, like a princess in a castle impossible to reach. But then her performances would do everything to challenge those assumptions, from her Tae-Hee in 번지점프를 하다 (Bungee Jumping of Their Own) to Soo-Jung in 오! 수정 (Virgin Stripped Bare By Her Bachelors). Many of her roles ended in tragedy, a bittersweet sign of things to come. As a lead, she never found success, despite her considerable talent. But her performance in the monster hit 태극기 휘날리며 (Taegukgi) and the TV Drama 불새 (Phoenix) showed she was starting to reach the industry's upper echelon. A lot has been said, about the reasons why Lee tragically committed suicide last year, many people speculated about her depression, about the people she was close to and what influence they had on her (with the Korean media attacking singer Jeon In-Kwon like vultures, simply because he admitted how he felt about her). But that's not the face I want to remember. Because when I think of Lee Eun-Joo, I always remember her first ever singing performance in 'The Scarlet Letter', in a now famous night club in Seoul. She looked ready to take off, like a star.

"But it's only when I sleep
See you in my dreams
You got me spinning round and round
Turning upside-down"
'Only When I Sleep', The Corrs (sung by Lee Eun-Joo in the film)
주홍글씨 中 (From 'The Scarlet Letter')

김무생 (Kim Mu-Saeng)
03/16/43~04/16/05

I don't know if it's some kind of poetic justice, but I'll always remember Kim Mu-Saeng, one of the most popular veterans on TV, for one of his last roles, in the nostalgic comedy 고독이 몸부림칠 때 (Sweet Sixties). Playing a sort of parody of his older solemn roles in Historical Dramas -- he played Lee Soon-Shin in the 70s, King Sookjong, and many other important figures -- Kim raged a war of ad-lib greatness with veterans Ju Hyeon and Yang Taek-Jo, in what's still one of the most underappreciated comedies of recent years (perhaps because it's unabashedly local). In the latter part of his career, Kim often played 'baddies', rich Chaebol Head Honchos and corrupt politicians, But no matter how small the role was, he was pure gold when directors let his comic timing flow. Korean TV and Cinema is full of great veterans, but Kim is a big loss, as he always made a strong impression on me. His son Kim Ju-Hyeok seems to carry the same down-to-earth panache and charming comic talent, so hopefully he'll carry on his father's legacy.

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THE TOP 10 FILMS OF 2005
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Top 10s are boring, right? So what would make mine any different? The fact it's not only mine. Just like we did for the TV Dramas special, I got some friends to help me in the arduous task of picking the best films of the year, and nominate the all important 'X Awards' for films as well. OK, stop laughing...

The panel could have been larger, but a few people had to drop out for personal reasons. I still want to thank them for kindly accepting my offer. You're still invited for next year's special (you know who you are)! Of course I also have to thank Isao K (a good friend and Twitch regular), Yoshiko (my girlfriend, who might have bad taste in men, but has very good taste in films), and Brian from the kickass HK (but now also Thai, Bollywood, JP and more) review site View From The Brooklyn Bridge for helping me with this. The formula is simple: 10 Points for Number 1 down to 1 Point for No. 10. The rest is math, if I did it right...

2005 films I haven't seen before deadline (22/80 - will be eligible next year): 왕의 남자 (The King and The Clown), 태풍 (Typhoon), 광식이 동생 광태 (When Romance Meets Destiny), 작업의 정석 (The Art of Seduction), 새드무비 (Sad Movie), 오로라 공주 (Princess Aurora), 6월의 일기 (Bystanders), 무영검 (Shadowless Sword), 청연 (Blue Swallow), 파랑주의보 (My Girl And I), 애인 (Intimate), 왕후심청 (Empress Chung), 그리스 로마신화-올림포스 가디언-기간테스 대역습 (OIympus Guardian: Gigantes Strike Back), 연애 (Love Is a Crazy Thing), 러브토크 (Love Talk), 다섯은 너무 많아 (Five Is Too Many), 목두기 비디오 (Mokdugi), 동백꽃 (Camellia Project), 디지털3인3색 (Digital Shorts Films by Three Filmmakers), 프락치 (Spying Cam), 당시 (Tang Poetry), 빛나는 거짓 (Fade Into You).

Individual Top 10s and Award Nominations (Text File)

- Other Contenders -
Note: when titles are tied, the film featured on more ballots goes ahead

7 Points - 너는 내운명 (You're My Sunshine) - dir. Park Jin-Pyo
6 Points - 혈의 누 (Blood Rain) - dir. Kim Dae-Seung
6 Points - 녹색의자 (Green Chair) - dir. Park Chul-Soo
5 Points - 말아톤 (Marathon) - dir. Jung Yoon-Cheol
4 Points - 내 생애 가장 아름다운 일주일 (All For Love) - dir. Min Gyu-Dong
3 Points - 외출 (April Snow) - dir. Hur Jin-Ho
2 Points - 마파도 (Mapado: Island of Fortunes) - dir. Chu Chang-Min
2 Points - 용서받지 못한 자 (The Unforgiven) - dir. Yoon Jong-Bin
1 Point - 여자, 정혜 (This Charming Girl) - dir. Lee Yoon-Gi
1 Point - 분홍신 (The Red Shoes) - dir. Kim Yong-Gyun

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10.
9 Points
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남극일기 (Antarctic Journal)
Directed By: 임필성 (Im Pil-Sung)
Starring: 송강호 (Song Kang-Ho), 유지태 (Yoo Ji-Tae), 강혜정 (Kang Hye-Jung)
Box Office: 1,057,311 Tickets
DVD
Isao K: A feature-length debut from an exciting young director with undeniable chops.
X (from the DVD REVIEW): So what is Antarctic Journal at the end? Is it a character study, a glacially brutal horror film, a psychological thriller about the monsters inside men's personalities? Perhaps all of them, and then again maybe none. That last look in Do-Hyung's face reminds me of 살인의 추억 (Memories of Murder). That look that shines in your face when you realize there's no end to ambition, that just working hard, putting everything into a desire sometimes is not enough, when you let that raw emotion cloud your judgment. When you let personal factors, prejudices, weaknesses influence decisions that do not only concern yourself. That look might have been the same Im Pil-Sung had after that maligned press screening, after reading the first reviews. All that ambition, all that hard work, all those promising signs. Were they all in vain? Was the pressure too hard, the conditions too harsh, the payoff impossible? I'm still looking for answers to the myriad of questions the movie creates, questions it never answers because it respects the viewer enough to let him or her find them themselves. I might never reach those conclusions after all, be it my or the film's fault. Call it my very own Pole of Inaccessibility, but the only thing I want to do right now is watch it again. And again.

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9.
10 Points
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깃 (Git - Feathers in the Wind)
Directed By: 송일곤 (Song Il-Gon)
Starring: 이소연 (Lee So-Yeon), 장현성 (Jang Hyun-Sung)
Box Office: 2,836 Tickets
DVD
Brian: Korea had two great adult romantic films last year and both tanked completely at the box office. This film and Green Chair. There is hardly a plot to write about in GIT - it's a beautifully shot Zen like work of slow moments that will sneak up on you and drill to the center of your heart. A lonely film director goes to a small island in the off season in hopes that his ex-girlfriend of years ago will keep their 10-year old promise to show up. While waiting for her to come, he goes about his days and fills his time with simply living in the present. He chats with the sister of the hotel owner, stares out at the sea, takes walks - nothing much happens, yet it's deliriously romantic. This is so refreshing - the director never looks down and plays to the audience with big emotional swaggering scenes but just delivers a small slice of life story that felt so much larger.
X: We've seen a million times 신파 (shinpa, tearjerkers) about promises between the leads, finally meeting each other in the most romantic of ways at the end. But Song Il-Gon, knowing simple is the best way to go, orchestrates this little film with such finesse that you quickly forget about the promise and start immersing in its mystical charms. This film captures better than probably any other I've seen that feeling, that strange mood you experience when leaving home, and find another 'home' somewhere else, something connecting with you on a different level. It's like an immobile road movie, but this time it's ourselves we're discovering, not the characters. Lee So-Yeon (no make-up and no thrills, a far cry from her femme fatale roles in TV Dramas) and Jang Hyun-Sung are fantastic, and Song's direction shows we have another major talent on our hands -- if 꽃섬 (Flower Island) and 거미숲 (Spider Forest) weren't enough to prove that. 그 섬에 가고싶다 is not only the title of one of best Korean films of the 90s (To The Starry Island), but also my feelings after watching this gem: I want to go to that island...

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8.
12 Points
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연애의 목적 (Rules of Dating)
Directed By: 한재림 (Han Jae-Rim)
Starring: 강혜정 (Kang Hye-Jung), 박해일 (Park Hae-Il), 이대연 (Lee Dae-Yeon)
Box Office: 1,735,977 Tickets
DVD
Yoshiko: Funny, cute, intelligent and with that mean streak that never hurts.
Brian: Though this has all the packaging of yet another romantic comedy, if it is it is certainly one of the most subversive ones I have come across. A teacher is assigned a female student teacher as his assistant and puts the moves on her immediately, then virtually rapes her, and then dates her, then falls in love with her. Part of me recoiled in horror that this was portrayed as a sort of romance, but part of me was fascinated by it as well. Repulsive and romantic, it is moored by a terrific performance from Gang Hye-jung as the student teacher.
X (from the DVD Roundup): They say there's no rules in love and war. But then why do most romantic comedies and melodramas follow the same 'rules'? Is it because people more or less do the same things when falling in love, approach relationships the same way? Of course not. 'Rules of Dating' is one of those rare films that gives space to people who have different ideas of what love is, what dating and sex mean in a relationship. But the best thing is its not being preachy about it. With one of the most memorable opening lines in recent memory (젖었어요? - Are You Wet?), Han Jae-Rim's debut film manages to avoid all the cliches of the 'opposites attract each other' canon, focusing on how different people have different ideas about dating itself. This is one of those films that will make you think, not only about relationships, but also the way society considers certain 'atypical' behavior. With smart, snappy dialogue, and a sort of Hong Sang-Soo inspired but more accessible 'gentle monster' character, mixed with a realistically honest female character, in the vein of 결혼 미친짓이다 (Marriage is a Crazy Thing)'s Eom Jung-Hwa, the film manages to be affecting, disturbing and thought provoking at the same time.

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7.
13 Points
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사랑니 (Blossom Again)
Directed By: 정지우 (Jung Ji-Woo)
Starring: 김정은 (Kim Jung-Eun), 이태성 (Lee Tae-Sung), 정유미 (Jung Yoo-Mi), 김준성 (Kim Joon-Sung)
Box Office: 165,538 Tickets
DVD
Yoshiko: Kim Jung-Eun and Jung Ji-Woo, blossoming again. Jung Yoo-Mi is stunning.
X: When I heard Jung Ji-Woo was going to work with Kim Jung-Eun in his long awaited return, I was intrigued. The man responsible for the amazing 해피엔드 (Happy End), which completely transformed Jeon Do-Yeon's career, working with a big name star in what you could call her first serious role. Just like Lee Myung-Se, it took 6 years to wait for another of Jung's films, and a change was inevitable. But this film completely defied every single expectation I could possibly have: from the super-intense and passionate sex of 'Happy End' to the tender maturity shown in 'Blossom Again', from the Hitchcock-like finale of the 1999 film to the dreamy flashbacks and fantasy of this one. This might be one of the best Korean films about women passing that stage, becoming 30 years old, which makes something change inside them forever. And besides that, it's as expertly layered as Jung's previous film, and the performances are surprisingly effective (not that I thought Kim Jung-Eun was a bad actress, but I never expected this kind of subtlety from her). If there's anything which jumps at the viewer, that's certainly Jung Yoo-Mi's performance. She's incredible here, a mix of maturity and child-like sweetness, without ever becoming ultra-cutesy. Between this film and 내 이름은 김삼순 (My Lovely Sam-Soon), 30 something Korean women have found their voice in popular culture, and that's quite surprising, considering the market is dominated by teens. The biggest surprise of the year? [REVIEW COMING SOON]

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6.
16 Points
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주먹이 운다 (Crying Fist)
Directed By: 류승완 (Ryu Seung-Wan)
Starring: 최민식 (Choi Min-Shik), 류승범 (Ryu Seung-Beom), 나문희 (Na Moon-Hee)
Box Office: 1,728,477 Tickets
DVD
Isao K: Ryu Seung Wan busts out of cult action director status in his best film since his audacious debut, buoyed nicely by 2 tremendous lead performances - from younger brother Seung Bom and CMS.
Yoshiko: Only punches can hit harder than this film. Amazingly powerful.
Brian: Two boxers on the fringe of society are destined to meet in the ring looking for a little redemption in their lives and the viewer is left with an emotional conundrum - we want them both to win and in a sense they both do. Melodramatic and poignant, this tears at your heart with good intentions and two ferociously appealing performances.
X (from the DVD REVIEW): Crying Fist is Ryu's graduation project, a stepping stone to perhaps greater things to come in the future. All these years spent getting a general idea of how film criticism works in Korea, how filmgoers are influenced by it. The needs of both parties, his needs, the expectations of his peers. And, last but not least, his International status, still in a dangerous limbo between arthouse acceptance and 'fanboy' land. The maturity Ryu shows in this project, the newfound stability that makes the film flow perfectly, the fact he's been able to strip himself of his influences and create something that even defies the world 'genre' shows all those hard times were worth something. They were like hard training for an important match, perhaps the most important of his career: finding his voice. Now it's no more wonderkid, enfant prodige, the Korean Tarantino or Scorsese... it's just Ryu Seung-Wan. And I think we can all be happy for that.

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5.
18 Points
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그때 그사람들 (The President's Last Bang)
Directed By: 임상수 (Im Sang-Soo)
Starring: 백윤식 (Baek Yoon-Shik), 한석규 (Han Suk-Gyu), 송재호 (Song Jae-Ho)
Box Office: 1,083,962 Tickets
DVD
Isao K: Cynical, funny, disturbing, great.
Brian: A mocking irreverent rendering of the assassination of President Park in 1979 that is all the funnier because it is based on true events and because it so annoyed much of the Korean establishment. Everyone from the perpetrators to the government come across as idiots without a clue. After the killing is performed, the Three Stooges who carry it out flounder without a plan on what to do next, somewhat similar to a recent invasion of a foreign country, and always a good reminder that because people are in power doesn't necessarily mean they are smart.
X (from the DVD REVIEW: Of course you can take that all away from the film. You can forget about history, politics, bias, fiction or fact. You can decide to consider Im's film devoid of any allegory tied to today's political world; you can erase the actions of Park Ji-Man, the only son of President Park, who stole a page from his father's book and tried to shoot this film into oblivion before it could "confuse" people's minds into thinking Park Jung-Hee wasn't the second coming after all. You can forget about the deleted scenes, which slightly disrupt the pathos and power of the finale, but not enough to ruin the experience. You can do all that, and you'd be still left with one of the most accomplished Korean films of recent memory. The stupendous acting, spot on music, quirky rhythm and pacing, great camera work, brutal dark comedy, the attention to detail in art direction, costumes and props. It's all out there to be enjoyed, and you don't need a degree in Korean History to do that. That is Im Sang-Soo's greatest gift to film fans all over the world. To have made something so hard hitting, so self-critical of its troubled history, so rich in detail and so smart in humanizing important figures in Korean History, without necessarily taking sides, without preaching. Yet, to make something that, all that put aside, can be so funny, lyrical in its stylish romanticism, so beautiful to look at, and so well acted. For that, even if we won't get a chance to see it in its entirety for some time, I only have one thing to say: thank you.

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4.
19 Points
--------

형사 Duelist
Directed By: 이명세 (Lee Myung-Se)
Starring: 하지원 (Ha Ji-Won), 강동원 (Kang Dong-Won), 안성기 (Ahn Sung-Gi)
Box Office: 1,203,146 Tickets
DVD
Isao K: A film that would have ended up higher on this list if only I could handle the annoying levels of mugging by Ha Ji Won - so it's my fault, not the movie's.
Yoshiko: I detest Kang Dong-Won, and I can barely tolerate Ha Ji-Won. Then why do I keep wanting to rewatch this film over and over?
X (from the DVD REVIEW): This vortex of images, sounds, wild mood swings and visual cues are the elements which always made up Lee Myung-Se's world, and they continue to play a crucial part in 'Duelist'. Using broad slapstick comedy which reminds of early silent films, visual techniques of black and white expressionist films, and camerawork which emphasizes rhythm over everything else, 'Duelist' is like a 110 Minutes soccer march, or a festival: it has slower and faster moments, but it constantly moves, it flows from one end of the spectrum to the other, unpredictably. You never know where it will lead, and the end result might not even live up to your expectations. But it's the thrill of the movement, the film language itself which keeps you glued to the screen. This film lives for that sense of confrontation: the love/hate confrontation between Nam-Soon and Sad Eyes, its way of dueling with cliches and genre tropes which make us lazy viewers, always asking for new things but then unable to appreciate someone trying something completely different, and even the confrontation between those who love and hate the film. From beginning to end a long confrontation, screaming and hitting us with all its violence, waking films up from the mannerisms they have fallen into. And for achieving that in such spectacular fashion, 'Duelist' is one of the year's most important cinematic achievements.

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3.
23 Points
--------

달콤한 인생 (A Bittersweet Life)
Directed By: 김지운 (Kim Ji-Woon)
Starring: 이병헌 (Lee Byung-Heon), 신민아 (Shin Min-Ah), 김영철 (Kim Young-Cheol)
Box Office: 1,271,595 Tickets
DVD
Isao K: Action Noir - a welcome new Korean subgenre.
Brian: This has seemingly all been seen before - the gangster life with its doses of male bonding, betrayal, the surrounding violence, a beautiful woman who softens a hard heart and a John Woo finale - but I don't know if it's been done much better than this. This is just simply brilliant - the mood is sleek and dangerous with a wonderful physical rhythm that is hypnotic and Lee Byung-heon as the coolest of gangsters in his designer suits and calm composure is in complete command until he shows one moment of humanity and his world falls out from under him in a nanosecond.
X (from the DVD REVIEW): Although I think Kim has never made a bad film, and most of his work is memorable in its own unique way, this might be his calling card to International fame. Its technical and visual splendor on display a perfect complement to all the artistry behind the scenes, from the music to the sound design (deliciously sophisticated, far removed from the squib fests that plagued too many Korean noirs in the 90s). Its balancing of stylish and nihilistic violence with tremendously effective black comedy, the kind that never gets to its knees begging you to laugh but earns it with its uniqueness. Its beautiful melancholy hidden under the wah wah and the bang bang, it all comes together as a masterful whole. It might only end up quietly pleasing cult film fans, but Kim has finally given Korea a film noir to be proud of. One that shows a master filmmaker at the top of his game, putting so much into a film to make it shine, yet making it all look so simple. In an action film world of stiff trees never moving even if hit by hurricanes, his refreshing breeze will certainly move many people's hearts.

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2.
27 Points
--------

웰컴 투 동막골 (Welcome To Dongmakgol)
Directed By: 박광현 (Park Gwang-Hyun)
Starring: 정쟁영 (Jung Jae-Young), 강혜정 (Kang Hye-Jung), 신하균 (Shin Ha-Gyun)
Box Office: 8,008,622 Tickets
DVD
Isao K: As mainstream locally-geared crowdpleasers go, it delivers the goods on all fronts.
Yoshiko: wild boars, wild girl, wild film. Like a live action Ghibli, without the annoying 12 year old heroine.
Brian: This was the second biggest box office film of the year and for a rarity its popularity is matched by the quality of the film. I went in expecting a soppy dim-witted Korean comedy and came away completely emotionally undone - this debut work from director Park Kwang-hyun is amazing. It's kind of like Brigadoon meets the Korean War and whips back and forth between the magical, the comical, the brutal and the tragic to wonderful dizzying effect. In some ways the film goes just where you sort of expect it to but while doing so it creates an emotional core that becomes devastating by the end.
X (from the DVD Review): One of the great things about Ghibli's animation films is making almost a festival out of their works. That sense you're experiencing something special, something people have worked on intensely for years, to make you happy (and fill their pockets, yes. But that's never obvious, dominating the screen and taking the fun out of everything like in Hollywood movies), to make themselves happy, to make a great movie. And besides the wonderful little touches of Jang Jin-styled comedy, this is one of the first live action films I've seen able to capture that magic of Ghibli's features. The popcorn rain, the wild boar scene, the festival in the village, the final battle scenes, it all conveys a spectacular feeling. Watching the film, for a moment I forgot about the impressive CG work, the predictably excellent acting of Kang Hye-Jung, Jung Jae-Young, Shin Ha-Gyun, the 'Suda Family' supporting actors, and even comedian turned actor Im Ha-Ryong, who populated a lot of Jang's films in the past, but turns the performance of his life here, in his first real film role. Carried by Hisaishi's majestic score, by the pitch-perfect script by Jang and Park, and the visual splendor the director added, I forgot I was watching a film, and just enjoyed the experience. And it reminded me of the good old days, when I'd watch obscure Shaw Brothers films, even more obscure Bae Chang-Ho, Lee Jang-Ho or Jung Ji-Young films on crappy 2nd generation tapes, and love it. When the movie magic hit me like a typhoon and made me a fan for life. So, after I kept this big, fat smile on my face for the entire ending credits scene, two things came to mind, two things I wanted to say to Director Park and all the people involved in the making of this film: I'm happy, and thank you.

--------
1.
36 Points
--------

친절한 금자씨 (Sympathy For Lady Vengeance)
Directed By: 박찬욱 (Park Chan-Wook)
Starring: 이영애 (Lee Young-Ae), 최민식 (Choi Min-Shik), 오광록 (Oh Gwang-Rok)
Box Office: 3,650,000 Tickets
DVD
Isao K: So worth the wait and hype.
Yoshiko: Killer Jang-Geum plays Snow White and The Seven Sins.
Brian: Park Chan-wook's third and final piece in his trilogy of revenge films is so visually glorious and imaginative that one can easily be swept along like a swift rip tide. He seems to constantly play with his presentation's imagery that made me gulp like a school boy in love - an ever constant parade of changing colors, texture and camera angles with playful swirls and doodles as add-ons. It simply knocked me out. This isn't quite enough to allow me to completely overlook the lack of a strong emotional core within this beautifully wrapped gift, but its often times comical overtones and stunning appearance made for a great viewing experience.
X (from the DVD REVIEW): It's no secret Park Chan-Wook is one of the my two-three favorite directors. I see in his films all I love about Korean Cinema, taking the best out of different genre elements combining them into something personal, passionate, and with the kind of intensity only one who loves Cinema can create. I've loved just about everything the director has done since 'JSA', but this film was special for me. It showed a new, an improved Park Chan-Wook. More mature -- not that he wasn't before, but this film is on another level -- perfectly balanced and completely understanding what makes his film works. Park's next few films will be interesting, not so much to see which direction he takes (anyone familiar with his work should know where that direction will lead), but how by becoming more experienced he's finally able to filter out what's unnecessary, what's obvious, what's ancillary to the main focus of his films. I think 'Lady Vengeance' is not only an end to certain period of his career, but also the beginning of a new one.

=================================================
The 1st Annual X Awards - Korean Films
=================================================

STAR OF THE YEAR
이준익 (Lee Joon-Ik)
Director of 왕의 남자 (The King and The Clown)
2/3 Votes

2000. President Lee Joon-Ik and his production company Cineworld risk collapse, after the huge flop of the black comedy 공포택시 (Ghost Taxi), with debts of several Billion Wons. Despite later successes, Lee opens 2005 with 3 Billion in the red; even before his latest film 왕의 남자 (The King and The Clown) could enter principal photography, lead Jang Hyuk has to drop out because of a draft dodging scandal, and the film is left without a leading star. Using his pragmatic working style, Lee manages to wrap up a blockbuster 'fusion drama' in a few months, spend a fraction of the usual cost, and cast underrated veterans with tons of talent, next to promising youngsters. Result? 10 Million viewers, just a few weeks away from probably becoming the most successful Korean film of all time. And it was neither a comedy about gangsters, or a drama about the North/South divide. It was about people giving it all they have to become someone... just like what Lee did in the last few years. The most inspirational story of the year, a big lesson to all the corporate suits in Chungmuro spending weeks to analyze market trends, or economists who treat the industry like a giant banana to be traded with those who offer the most.
OTHER CONTENDERS: 이영애 (Lee Young-Ae)

BEST FILM
친절한 금자씨 (Sympathy For Lady Vengeance)
Directed By Park Chan-Wook
2/4 Votes

(From the DVD REVIEW): The finale, perhaps the most powerful moment in all of the director's filmmaking career, wraps up what I think has been the first part of a hopefully very long journey into Park Chan-Wook's film world. The balancing act he pulls in the second half of the film, with every single element, from acting to cinematography and production design meticulously mixed to support Park's vision shows a director on top of his game. A director who can balance the needs of the mainstream and the demands of film buffs; someone who uses violence and visuals to tell a story, not to show his mental masturbation to the whole world. On top of the mountain, after achieving revenge, what is Park's final message? He asks that question to the viewer themselves: what's revenge, why do people pursue it, why do they put themselves in a prison of their own to find their own alleged sense of freedom? The fact Park's own answer to such a question is so simple shows how much he's matured as a director. And that maybe he has found something after all that hard work and struggles... redemption?
OTHER CONTENDERS: 형사 Duelist, 달콤한 인생 (A Bittersweet Life)

BEST DIRECTOR
이명세 (Lee Myung-Se)
형사 Duelist
2/4 Votes

(From the DVD REVIEW): Lee Myung-Se's 'Duelist' is many things: it's an incredibly good looking film, it's exciting in ways most other films can't ever dream of, it's amazingly creative and consistently engaging, with the kind of vitality and playfulness of early silent films; it's quite universal, once you understand what it's trying to do, and shows those 6 years waiting and resting didn't rob Lee of his wicked talent. [...] I adore his films, for trying to reawaken the instincts of the viewers, for constantly feeding them with power, through movement, sound and film language. [...] 2005 was a tremendous year for Korean Cinema, with many great films and lots of new talented faces coming into the scene. But I think the most important statement of the year is represented by this film. In this era when producers and actors fight each other for money, governments fight each other for screen quotas (or should I say bend over and let it come?), and exhibitors and distributors engage in petty fights over a few screens, there's still people like Lee who think about what started it all: film. Its language, its form, style, and ways to communicate with the viewer. 'Duelist' is not a perfect film, but it's the most 'film' like experience of the year. It's another 'Gagman' to me, another work looking into the future, when maybe people will finally love films for what they are, and stop worrying about the genre.
OTHER CONTENDERS: 송일곤 (Song Il-Gon) - 깃 (Feathers in the Wind), 박찬욱 (Park Chan-Wook) - 친절한 금자씨 (Sympathy For Lady Vengeance)

BEST ACTOR
황정민 (Hwang Jung-Min)
너는 내 운명 (You're My Sunshine)
2/4 Votes

If it weren't for Lee Joon-Ik's rapturous influence around the end of the year, 2005 would have certainly been the year of Hwang Jung-Min: after half a decade of small but memorable roles, he's finally found the popularity he always deserved, thanks to the success of 너는 내운명 (You're My Sunshine) and 내 생애 가장 아름다운 일주일 (All For Love). But looking at the films he starred in this year shows his scary versatility: super-shy guy in Lee Yoon-Gi's lovely 여자, 정혜 (This Charming Girl), vicious and smarmy boss in 달콤한 인생 (A Bittersweet Life), righteous soldier in 천군 (Heaven's Soldiers) and down-to-earth detective in 'All For Love'. He's done them all, from arthouse to blockbusters, from noir to melodrama. He finally won the prestigious awards he always deserved, and has become one of the most sought after actors in the business. All thanks to talent. A big, rousing applause.
OTHER CONTENDERS: 이병헌 (Lee Byung-Heon) - 달콤한 인생 (A Bittersweet Life), 최민식 (Choi Min-Shik) - 주먹이 운다 (Crying Fist)

BEST ACTRESS
전도연 (Jeon Do-Yeon)
너는 내 운명 (You're My Sunshine)
2/4 Votes

It's becoming almost predictable. Jeon Do-Yeon... best actress? Man, I've never seen that. But despite Lee Young-Ae's shockingly good performance in 친절한 금자씨 (Sympathy For Lady Vengeance), I think her breakthrough there has more to do with perfect casting and the hand of the director. Jeon in 'You're My Sunshine' is a whole different story. The character could quickly descent into tearjerker hell, if her chemistry with Hwang, and the way she conveys her changing attitude for the man weren't effectively conveyed. I mean, they even take a bath outdoor, and it's not even a 60s melodrama! Sexy without ever becoming sleazy, sweet without unnecessary cuteness, tough without sounding like a market ajumma, creating the kind of character you can relate to simply because she lets every nuance emerge. Another great performance by one of the best actresses the country has ever seen.
OTHER CONTENDERS: 이영애 (Lee Young-Ae) - 친절한 금자씨 (Sympathy For Lady Vengeance) - 서정 (Seo Jung) - 녹색의자 (Green Chair)

BEST SUPPORTING ACTOR: 임하룡 (Im Ha-Ryong) - 웰컴 투 동막골 (Welcome To Dongmakgol)
BEST SUPPORTING ACTRESS: 강혜정 (Kang Hye-Jung) - 웰컴 투 동막골 (Welcome To Dongmakgol)
BEST NEW ACTOR (Male/Female): 정유미 (Jung Yoo-Mi) - 사랑니 (Blossom Again)
BEST NEW DIRECTOR: 임필성 (Im Pil-Sung) - 남극일기 (Antarctic Journal)
BEST SCREENPLAY: 박찬욱 (Park Chan-Wook), 정서경 (Jung Seo-Kyung) - 친절한 금자씨 (Sympathy For Lady Vengeance)
BEST CINEMATOGRAPHY: 정정훈 (Jung Jung-Hoon) - 친절한 금자씨 (Sympathy For Lady Vengeance)
BEST EDITING: 고임표 (Go Im-Pyo) - 형사 Duelist
BEST SOUNDTRACK: 조영욱 (Jo Young-Wook) - 친절한 금자씨 (Sympathy For Lady Vengeance)
BEST SOUND DESIGN: 김경태 (Kim Kyung-Tae) - 달콤한 인생 (A Bittersweet Life)
BEST VISUAL EFFECTS: 조이석 (Jo Yi-Seok) - 웰컴 투 동막골 (Welcome To Dongmakgol)
BEST ART DIRECTION: 조화성 (Jo Hwa-Sung) - 친절한 금자씨 (Sympathy For Lady Vengeance)
BEST GUILTY PLEASURE: 가문의 위기 (Marrying The Mafia 2)
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WORST FILM: 역전에 명수 (The Twins) - dir. Park Heung-Shik
MOST DISAPPOINTING FILM: 외출 (April Snow) - dir. Hur Jin-Ho

========================================
Complete 2005 Box Office List
========================================
Sources: KOFIC, Distributors Data - Feature Films Only
Tickets Sold Nationwide

01. 왕의 남자 (The King and The Clown) - 2005/12/29 - 10,680,000 (and counting)
02. 웰컴 투 동막골 (Welcome to Dongmakgol) - 2005/08/04 - 8,008,622
03. 가문의 위기-가문의 영광2 (Marrying The Mafia 2: Enemy-in-Law) - 2005/09/07 - 5,635,266
04. 말아톤 (Marathon) - 2005/01/27 - 5,148,022
05. 태풍 (Typhoon) - 2005/12/14 - 4,180,000
06. 공공의 적 2 (Another Public Enemy) - 2005/01/27 - 3,911,356
07. 친절한 금자씨 (Sympathy For Lady Vengeance) - 2005/07/29 - 3,650,000
08. 마파도 (Mapado: Island of Fortunes) - 2005/03/10 - 3,090,467
09. 너는 내 운명 (You’re My Sunshine!) - 2005/09/23 - 3,051,134
10. 내 생애 가장 아름다운 일주일 (All for Love) - 2005/10/07 - 2,533,103

11. 박수칠때 떠나라 (Murder, Take One) - 2005/08/11 - 2,475,291
12. 광식이 동생 광태 (When Romance Meets Destiny) - 2005/11/23 - 2,430,200
13. 작업의 정석 (The Art of Seduction) - 2005/12/21 - 2,300,000
14. 혈의 누 (Blood Rain) - 2005/05/04 - 2,274,995
15. 댄서의 순정 (Innocent Steps) - 2005/04/28 - 2,197,555
16. 잠복근무 (She's on Duty) - 2005/03/17 - 1,914,941
17. 연애의 목적 (Rules of Dating) - 2005/06/10 - 1,735,977
18. 주먹이 운다 (Crying Fist) - 2005/04/01 - 1,728,477
19. 간큰가족 (Super Family) - 2005/06/09 - 1,593,038
20. 야수와 미녀 (The Beast and the Beauty) - 2005/10/27 - 1,561,282
21. B형 남자친구 (My Boyfriend is Type-B) - 2005/02/03 - 1,485,454
22. 분홍신 (The Red Shoes) - 2005/06/30 - 1,371,122
23. 달콤한 인생 (A Bittersweet Life) - 2005/04/01 - 1,271,595
24. 미스터 소크라테스 (Mr.Socrates) - 2005/11/10 - 1,261,965
25. 천군 (Heaven's Soldiers) - 2005/07/15 - 1,232,992
32. 형사 (Duelist) - 2005/09/08 - 1,203,146
26. 파송송 계란탁 (Cracked Eggs and Noodles) - 2005/02/18 - 1,193,150
27. 몽정기 2 (Wet Dreams 2) - 2005/01/14 - 1,188,815
28. 연애술사 (Love in Magic) - 2005/05/20 - 1,163,274
29. 안녕, 형아 (Little Brother) - 2005/05/27 - 1,143,136
30. 그때 그사람들 (The President's Last Bang) - 2005/02/03 - 1,083,962
32. 남극일기 (Antarctic Journal) - 2005/05/19 - 1,057,311
33. 새드무비 (Sad Movie) - 2005/10/20 - 1,066,765
34. 강력 3반 (Never to Lose) - 2005/09/29 - 989,573
35. 오로라 공주 (Princess Aurora) - 2005/10/27 - 946,372
36. 이대로, 죽을 순 없다 (Short Time) - 2005/08/18 - 838,419
37. 외출 (April Snow) - 2005/09/07 - 809,191
38. 나의 결혼원정기 (Wedding Campaign) - 2005/11/23 - 767,657
39. 6월의 일기 (Bystanders) - 2005/12/01 - 697,980
40. 무영검 (Shadowless Sword) - 2005/11/18 - 609,852
41. 역전의 명수 (The Twins) - 2005/04/15 - 602,078
42. 가발 (The Wig) - 2005/08/12 - 545,591
43. 키다리 아저씨 (Daddy Long Legs) - 2005/01/14 - 528,817
44. 여고괴담 4: 목소리 (Voice) - 2005/07/15 - 508,319
45. 청연 (Blue Swallow) - 2005/12/29 - 502,142
46. 미스터 주부퀴즈왕 (Mr. Housewife) - 2005/09/30 - 413,157
47. 사랑해, 말순씨 (Bravo, My Life) - 2005/11/03 - 406,526
48. 파랑주의보 (My Girl And I) - 2005/12/22 - 321,404
49. 제니,주노 (Jenny, Juno) - 2005/02/18 - 289,829
50. 레드 아이 (Red Eye) - 2005/02/18 - 242,842
51. 소년, 천국에 가다 (Boy, Goes to Heaven) - 2005/11/11 - 242,053
52. 엄마 (Mom's Way) - 2005/04/07 - 197,793
53. 첼로-홍미주일가 살인사건 (Cello) - 2005/08/18 - 197,678
54. 사랑니 (Blossom Again) - 2005/09/29 - 165,538
55. 애인 (Intimate) - 2005/12/08 - 122,780
56. 왕후심청 (Empress Chung) - 2005/08/11 - 75,957
57. 태풍태양 (The Aggressives) - 2005/06/02 - 55,970
58. 여자, 정혜 (This Charming Girl) - 2005/03/10 - 43,457
59. 극장전 (Tale of Cinema) - 2005/05/26 - 41,919
60. 올림포스 가디언-기간테스 대역습 (OIympus Guardian: Gigantes Strike Back) - 2005/07/28 - 27,830
61. 종려나무 숲 (The Windmill Palm Grove) - 2005/09/15 - 22,895
62. 연애 (Love Is a Crazy Thing) - 2005/12/09 - 18,383
63. 러브토크 (Love Talk) - 2005/11/11 - 15,719
64. 바리바리 짱 (Baribari Jjang) - 2005/08/19 - 12,417
65. 녹색의자 (Green Chair) - 2005/06/09 - 11,178
66. 용서받지 못한 자 (The Unforgiven) - 2005/11/18 - 10,647
67. HAAN 한길수 (Mr. Haan) - 2005/09/23 - 10,000
68. 별별이야기 (If You Were Me: Anime Vision) - 2005/09/23 - 7,232
69. 철수♡영희 (Chulsoo & Younghee) - 2005/01/07 - 4,523
70. 초승달과 밤배 (The Crescent Moon) - 2005/08/25 - 3,735
71. 깃 (Feathers in the Wind) - 2005/01/14 - 2,836
72. 다섯은 너무 많아 (Five Is Too Many) - 2005/11/25 - 2,565
73. 가능한 변화들 (Possible Changes) - 2005/03/18 - 2,467
74. 거칠마루 (The Showdown) - 2005/09/15 - 2,177
75. 활 (The Bow) - 2005/05/12 - 1,398
76. 목두기 비디오 (Mokdugi) - 2005/07/15 - 984
77. 동백꽃 (Camellia Project) - 2005/09/16 - 744
78. 디지털3인3색 (Digital Shorts Films by Three Filmmakers) - 2005/07/22 - 688
79. 프락치 (Spying Cam) - 2005/05/20 - 372
80. 빛나는 거짓 (Fade Into You) - 2005/09/16 - 251