Busan: Park Chan-Wook on "How the" old boy "sprayed with blood shaped his career

Busan: Park Chan-Wook on How the old boy sprayed with blood shaped his career

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4:24 AM PDT 10/7/2019 by Mathew Scott

South Korean director Park Chan-wook admits he still gets a little nervous when he watches or even thinks of his breakthrough hitting Oldboy.

"I am sometimes intimidated by the reaction to this film," Park said in a discussion related to the screening of a classic 2003 film at the Busan International Film Festival (BIFF) as part of the festival's 100th anniversary of Korean cinema. "Like when men ask me to sign my hammer. But it's a great honor to participate in the 100th anniversary program."

For many around the world, it was a blood-sprayed nasty-noir piece to enter Korean cinema, given that it won the Grand Prix at Cannes and gained widespread acclaim at all festivals.

It's violent (hammers), but it set a template for Korean thrillers as they began to reach the world, from the turn of the millennium to the current Oscar's favorite parasite. Bong Joon-ho's dark social commentary, like Oldboy, sets his sights on society's illnesses and then explodes into moments of super violence.

After 16 years, it is safe to say that Oldboy has not lost his side or the ability to make people sit still.

Watching Choi Min-siki again as the vicious Oh Dae-su and watching him suffer for 15 years in a room locked up for reasons he doesn't understand is still restless as far as it rephrases. The interiors remain blood red or crimson and still seem to drip from the screen. Then he is released and there is an infamous scene with a live octopus. Then comes the revenge, which he does. And then there are the disturbing sexual spaces in the dark heart of this film, both Oedipa and the incident.

Even Park says there are times when he thinks about the monster he made.

"In hindsight, I thought many of my films portrayed violent masculinity," Park said. "That is why I expressed my condolences to Lady Vengeance [2005. in]. About 90 percent of my fans were men by then, and I was very impressed when I met those hammer fans. It really made me look at my cinema. I wanted to balance my audience, but it was really skewed. I tried to change. "

The BIFF screenings were sold out, and there were shouts when the director set out during the Q&A session.

He asked intense questions and was infused from time to time by his talented nods, including praise from a young wannabe director who said he had traveled about Seoul, about 200 miles away, to find out what was behind the theme of Park's charm. .

"Everyone assumes that revenge movies have empty ends. That makes them unique, ”said Park. "Revenge is anger that follows when something is lost, but even if revenge, you cannot replace the lost, so it feels empty. It's nihilistic, but it's very human. I want to know why people are willing to give up all this nonsense because of revenge. No other animal does this. "

Oldboy hangs his audience, not knowing what the future holds for Oh Dae-su and the woman (Kang Hye-jung) with whom he is associated. Park left the audience with a hint of all this. & Nbsp;

"I'll leave Oh Dae to your liking," Park said. "She loves him, but she also has to face the truth. Does he give up all the taboos of love in society? I don't think this story would have a happy ending if it did. She's romantic, but it's tragic and that's this movie: a romantic tragedy. "

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