- 1h 19m
A married man who moved to live in Seoul for a better life visits the small town where he grew up and falls in love with a local girl.A married man who moved to live in Seoul for a better life visits the small town where he grew up and falls in love with a local girl.A married man who moved to live in Seoul for a better life visits the small town where he grew up and falls in love with a local girl.
A film treatise on the many difficulty of setting, sentimental or simply psychological
t's been a while since I did not follow Korean cinema, and I've been back with Angae, I have to say that I did not mind watching this movie at all. Going to the very heart of the matter, what I have seen is nothing but the drama of a man named Yun Gi-yun fleeing to return to his hometown to find himself when he himself had left Mujin years before evolving trying to forget about a difficult and unmanaged youth. He is tempted to "look for" in this country lost and not known in the fog through misty sequences worthy of note. Stunningly structured work for the standards of the era beginning with the flashbacks that make the plot even more eloquent and certainly also plays a key role because of the convincing act of all actors (no one excluded), and despite the The film's shortness of time (it's not long enough for only seventy minutes of vision) is all that suffices to enhance its history, mainly thanks to large sequences made by dialogues that I dare say very but very relevant. It should be noted that the film has a mild eroticism and a clear criticism of the South Korean economic period of that decade, or large cities like Seoul considered as Balocchi countries and small villages such as Mujin rather alienating where the inhabitants live in a life only made of expedients, poverty, negative resignation, as forgotten by the world. The part where the prostitute who has committed suicide is found, clearly showing what I say, not to mention other abusers who populate Mujin, fog and heat are the cornerstone of the story, the sense of identification is there and it is it is useless to deny it. To mention the beautiful Ha In-Suk, which in the very first sequences I imagined a Yun Gi-yun flirt, in fact, between them two actually burst into something, though they both seem confused as the girl wants to go to Seoul with or without him, while the protagonist feeling the weight of responsibility makes it all culminate with a farewell. "Changing everything to change nothing," said Giuseppe Tomasi of Lampedusa and indeed Yun Gi-yun and Ha In-Suk return to their old lives and I think they will never forget the little they have lived.
- Nov 16, 2017
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