‘Mourning’ is a beautiful piece of Korean art that you can’t stop yourself from
In the Pantheon of Korean Photo-Horror Media, Director NE HOng-Jin Film of 2016 Crying (Goksung) to share a mysterious kinship by entering another sleeper of sorts. Of course, it has the usual configuration: a high-level hero, a well-made side character not long in this world, a wise shaman, a no-nonsense family type, and a naive, unpopular family member assigned a spiritual role. But like Jang Jae-Hyun’s movie 2024 Wake up, cry It takes these familiar signs and injures them with postcolonial trauma-the real Japan as the X-factor in its Horror of paranoria-which turns it into one of the most intense experiences, even if you separate it from the cultural spoils of the sin of deep attacks and racism.
The arrangement of Tcrying, Like any good epic movie worth its salt, it’s a quiet, remote country town where everyone knows everyone. Here, a dull and lazy police officer, even someone his colleagues complain about working with, the name Jong-Goo (KWAK was defeated), suddenly becomes important on the job when a mysterious plague takes root in South Korea. All the others do not know that any killings that have happened to people have made them continue to cultivate violently, kill their loved ones and leave exposed plants. It is that jong-goo is not equipped to solve but is forced to the temple at the height of his power of devotion – even if it is by accident and solving the cause of a common village where it is his daughter. And all signs point to the mysterious arrival of a foreigner, called “the Japanese man” (played by Jusu Kunimura), in his village. But his presence, however we have it, is only a vision of the snow they suspect behind the magical face of the silent spirit.
When all the horrors come running to the door of jong-goo, the mystique of crying’The Donelis are not the puppets of the Mysteries together, they make his paranoia bekep from the screen and put the viewer on notice. on the way, Crying It doesn’t cut it with cheap jump scares to sell that horror bubbling sensation in the face. Instead, it lasts a long time. It hangs from the explosion. It allows the fear to bloom the distance as the worst thing to enter from a distance to see you, and then prepare them towards you at its speed. It’s as metathet as any Cryingmeasured speed. Build disgust with sound, but with presence. And so it is indeed Good for it.
In the eye of the storm is the ruling police officer at the center of it all – who, along with those viewers, know it’s on the right level, but it’s in a false position like a mountain of strong evidence. It doesn’t do him any favors that he goes on a well-planned Japanese man’s night, he makes his person – who was dangerous – the Wolff Case All dangerous before you consider the contrast of being interrogated with his more questions.
Included in all of this Nyogun-Wike Discord Hature Language. Jong-Goo repeats again and again to kill a Japanese person, he is 99 percent sure that everything is completely his choice, as it adds that he even follows his good orders. All the while, the priest, apparently in his head, serves as a translator between Joon-Goo-Who’s recurring nightmares as evidence – and a Japanese man, worried about his disorder. The language barrier becomes another source of paranoia, another veil between reality and imagination. Crying enjoy playing themes and motifs.
The film owes its sinister nature to the combined power of the cast: Kunimura as a spaceman, chun woo-hee as a “mysterious” woman, and Hwang Jung-Min, “and Hwang Jung-Min,” and Hwang Jung-Min the cast. Their performance is the film’s winning spin, less paranoia. Viewers are there with jong-goo, like Peter Parker in Can’t go back homespider-meneme walks haywire through a riotous room full of people smiling at his face while, perhaps, wishing him ill. It’s a form of paranoia – a renewed fear where danger can stare you dead in the face or help you look for keys, even though they’re hidden.
It is the conflict between certainty and doubt, bigotry and paranoia, that does Crying a surprising entry into the horror canon. It dove into many spinning plates that don’t seem to fit together: Part Criminal Machine, Part Shamanistic Fever Dream. And yet, it happens. Gently and painfully.
Its cinematography is amazing. Every frame comes from the spirit of leaving everything present, beautiful, and flawless images on the screen. All in the effort of our birting the panic wearing an asymmetric face, cooked with horror against the oppressive silence of the porridge, where dangers can be seen waiting between the hills or inside the homes of people who once felt safe.
Crying It doesn’t mean “raised horror” or “culture shock” in the way fans tend to call films that avoid political jumps or dabble in culture. It is the third mystery that becomes the novel: authenticity. Hong-Jin’s 2016 film can be very realistic that prejudice, ego, and social standing can judge – especially when it is expected that someone expects to be bigger and solve a secret that is bigger than them. And somehow, even though Jong-goo is a Scumbag, you feel for him. Not because of racism, obviously, but he is a hero in his daughter’s eyes. Not because he’s a good cop (he’s not), but because he’s her father. A father is God in the eyes of a child. And the fear of his suffering is that, it appears on the screen and sinks into the bones of the viewer – even if the silhouette of his daughter puts on the doors like death itself.
By the time the film crescences into its Finpheus-esque Finale, many of its horrors have already sunk beneath the surface. What remains is humility; A scandalous wave threatens to pull viewers under Jung-goo. And then, quietly, it leaves you with the feeling that there is an element of thunder more than any sound: Evil doesn’t have to be. Sometimes it’s just taking out the bait, not knowing how it will catch you, reducing it to any bite on the line. Figuring out whether evil is a perceived or real threat is where things get messy with jong-goo, which he does Crying Such a gem of a horror film.
I don’t get carried away enough to claim that I’ve been blindfolded Crying-I Go upfor that matter – and their shared mining of postcolonial trauma between Japan and South Korea. But what barriers are insignificant: a totality that acts as a one-way mirror – one that is universal in its reflection, and itself in its struggle. Crying It chooses from that illusion, weaving anxiety and confusion into something very intimate. For all its chaos, it didn’t succeed as a horror but a crime drama in disguise. It’s a movie that teases you long after the credits roll, not because it screams, but because it speaks plainly. And what it says is scary.
Crying broadcasts to HLU.
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