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'Red Cliff' Makes Box Office History

The most expensive Chinese film has finally become the most lucrative.

John Woo's battle epic "Red Cliff" has raked in 302 million yuan (US$44.04 million) as of Monday, setting a new record for Chinese films, Sohu.com reported.

It also became the only Chinese film so far to have crossed the 300 million yuan milestone, the report says.

Zhang Yimou's Oscar-nominated 2006 film, "Curse of the Golden Flower," was previously the most bankable Chinese film, earning 286 million yuan.

"Red Cliff" opened on July 10, and took only four days to earn 100 million yuan. It easily grossed 200 million yuan over ten days.

An unnamed representative from the China Film Group, which produced and distributed "Red Cliff," told Sohu that he expected the film to continue its popularity and eventually exceed the domestic record created by "Titanic." The 1997 American blockbuster, which grossed a total of 360 million yuan in China, is still unbeaten today.

Two gangsters, two actors, and a press conference

So Ji-sub and Kang Ji-hwan pose on press day (August 12) for upcoming movie A Movie Is A Movie (directed by Jang Hoon for Kim Ki-duk Films).

Well, they sure showed up in character. But with two such intense actors, I suppose that ought to be no surprise. I wish I could LIKE what either is wearing, but I'm content enough to stare anyway.

This is Kang Ji-hwan's big-screen debut — the two actors are the same age, but Kang explains, "When I debuted, So Ji-sub was already a big star, so I felt a strong sense of rivalry with him. With the two characters being antagonists in the film itself, and considering that on location we would be co-lead actors more than friends, it would be a lie to say I didn't feel any rivalry."

He explains that this is because he'd felt a burden when first finding out he'd be acting opposite So Ji-sub. "I was playing the role of the star actor, but when we first met, I could feel that he was more star-like.

Ang Lee Takes 'Woodstock'

"Lust, Caution" director Ang Lee will start filming his latest movie, "Taking Woodstock," by the end of August, the Oriental Morning Post reported on Thursday.

The movie is a biopic based on the 2007 Elliot Tiber memoir, "Taking Woodstock: A True Story of a Riot, a Concert, and a Life."

Elliot Tiber is one of the founders of the famous Woodstock music festival, and the movie is intended to as a tribute for the fortieth anniversary of the festival.

Emile Hirsch ("Speed Racer"), Liev Schreiber ("The Painted Veil"), and British actress Imelda Staunton are set to star in the film.

Ang Lee will collaborate on the film with longtime partner James Schamus, a famous screenwriter and CEO of Focus Features, and the film will appear under the Focus label.

'Sparrow' to Fly to Mainland

"Sparrow," a gangster thriller by Hong Kong director Johnny To, will premiere on the Chinese mainland on August 22.

The movie, starring Kelly Lin and Simon Yam, finished to enormous applause at a screening in Hong Kong in June, and has been entered in the 58th Berlin International Film Festival.

The movie tells the story of a gang of four thieves who try to steal a key for a beautiful, mysterious woman. Sparrow is the code word for "thief" within their gangster circle.

Johnny To spent four years working on the film, the Beijing Times reports.

Johnny To is famous for his works portraying the dark side of society, but says he wanted to add a little romance to "Sparrow."

To that end, the filmmaker invited dancers from the Hong Kong Ballet to create dances that add a romantic element to the movie.

"I wanted to express something both exciting and subtle in 'Sparrow,'" Johnny To explains.

Japan's Strong Contenders for Golden Lion

Japan will have a strong presence at this year's Venice International Film Festival. The latest works from Kitano Takeshi (61), Miyazaki Hayao (67) and Oshii Mamoru (56) have all been chosen to compete for the top prize. Miyazaki's "Gake no Ue no Ponyo" (Ponyo on the Cliff by the Sea), and Oshii's "Sukai Kurora" (The Sky Crawlers) are the only animated features among the 21 entries. It'll be the first visit to Venice for both anime directors in four years. Miyazaki's "Hauru no Ugoku Shiro" (Howl's Moving Castle) had its world premiere at Venice in 2004, winning the Golden Osella Award for Technical Achievement, while Oshii's "Ghost in the Shell 2: Innocence" was entered in the main competition. Meanwhile Kitano will be hoping that his latest, "Akiresu to Kame" (Achilles and the Tortoise), can achieve the success of 1997 Golden Lion winner "Hana-bi." All three directors are planning to attend the festival which runs from August 27 to September 6.

Sex is Zero 2 (2007) Yoon Tae-yoon 2.5/5

Ovo je jedan od retkih filmova koje je Wikipedia detektovala pre IMDBa.A nije narocito kvalitetan.Sve sto je vidjeno u prvom delu se na manje vise slican nacin ponavlja i u drugom,sa razlikom sto su neki junaci malo stariji,ali ni za milimetar pametniji ili zreliji.Explicitnije tretiranje golotinje i sexa je razlika u odnosu na American Pie serijal,ali ipak neubedljivo,nedovoljno i cak pomalo i dosadno.

CROSSING. Director Kim Tae-gyun (Volcano High, Millionaire's First Love) has been making headlines with his latest production. It's the story of the problems facing North Koreans who cross the border into China. In the movie, Kim Yong-su crosses from a border town in North Korea to get medicine for his sick wife. However, he finds that he cannot return. When he doesn't come back, his eleven year old son decides to risk a trip across the border himself to find him. Cha In-pyo (Mokpo: Gangster's Paradise, Zzang) stars as Yong-su and his son is played by Shin Myeong-cheol. Also appearing are Seo Yeong-hwa (Memories of Murder) and Jeong In-gi (The Railroad). Produced by Camp B, the director and staff met with over 100 defectors to depict their experiences as realistically as possible. Filming is complete and this drama will be released by new distributor Vantage Holdings.

PUBLIC ENEMY RETURNS. ("Gang Cheol-jung: Gonggong-ui jeok 1-1") Director Kang Woo-suk got some egg on his face for his last attempt at a big-budget blockbuster, the chest-thumping Hanbando, and now he is returning to the series that resurrected his career. The original Public Enemy, starring Sol Kyung-gu, was a commercial and critical hit in 2002. The 2005 followup, Another Public Enemy, also starred Sol but he was playing a completely different character in that film. For the third time around, Sol will reprise the role of Kang Chul-joong from the original film, and he will be joined by talented actors Jung Jae-young, Lee Moon-shik, and Yu Hae-jin. Interestingly, the screenplay is written by Jang Jin, who is best known for his comedies but who has also shown interest in the action genre. Seemingly unsure of whether it is a sequel or a prequel, the film is calling itself "Public Enemy 1-1" in Korean.

LIKE FATHER, LIKE SON. ("Abeoji mari-wa na") A rock musician who has always believed in the free and easy life is reunited with his son after a fifteen-year separation. The character of his son is just the opposite of his father's and the two gradually realize that they compliment each other well. But then one day, a woman named 'Marie' comes to the house where they live. This is the plot of the third film by director Lee Mu-yeong who first gave us the black comedy Humanist and followed that up with the quirky Bizarre Love Triangle. Now after a five year hiatus, his third film is nearing completion. It stars Kim Sang-joong (My Boss My Hero, Holy Daddy) as the father Tae-soo, Kim Heung-soo (Romantic Assassin, Over the Rainbow) as his son and Yoo In-yeong (Spy Girl) as Marie. A bright spot in this cast appears with Oh Kwang-rok (A Moment to Remember, Waikiki Brothers).

LIFE IS COOL. ("Geunyeo-neun yeppeotta") Director Choi Equan, who debuted with Voice, the fourth film in the Whispering Corridors series of high school horror films, is turning to something completely different for his sophomore feature. Life is Cool is an animated film about three grown up men who all end up infatuated with the same woman. It ranks as the first Korean feature to use the "rotoscoping" animation technique that was used for Richard Linklater's Waking Life and A Scanner Darkly, in which real footage is shot and then later animated by computer. Starring in the film are Kim Soo-ro (Vampire Cop Ricky), Kang Sung-jin (Kidnapping Granny K), and TV actor Kim Jin-soo as the men, and Park Yeh-jin (Memento Mori) as the woman who turns their heads.

An Interview with Bong Joon-ho

 Born in 1969 in Daegu, Bong studied sociology at Yonsei University in Seoul. In 1994-1995 he attended the Korean Academy of Fine Arts,where he produced his first short films. His first feature-length movie, Barking Dogs Never Bite ("Flanders-ui gae") won the Fipresci Prize at the Hong Kong Film Festival in 2001. Two years later he directed the serial killer movie Memories of Murder ("Salinui Chueok"), considered by many critics to be his best feature. In 2004 he produced a digital short for the Jeonju International Film Festival along with Asian directors Ishii Sogo and Yu Lik Wai for the collective feature Digital Short Films by Three Directors. His third film, The Host ("Gwoemul"), won Best Picture at the inaugural Asian Film Awards in Hong Kong, and established a national box office record in Korea with over 13 million tickets sold. Currently, he is working on a segment of an omnibus film focusing on the city of Tokyo involving also the French cineastes Leo Carax and Michel Gondry. This interview is extracted from a conversation with Bong Joon-ho during the Dongfang Film Festival in Naples (Italy).


How did you start approaching cinema?

I used to watch plenty of movies as a child. Television had a vital importance to my formation, because VHS tapes were not circulating yet in South Korea at that time. In the late 1980s, together with other sociology students, I created "Cineclick" -- a local organization devoted to discussion of Mass Communication and Media Arts.

Could you tell me more about Cineclick's activities?

We promoted screenings of Japanese and European films still unfamiliar to South Korean students. Cineclick attempted to encourage debate on audiovisual culture, and this experience helped to expand my vision of cinema. My gaze on moving images eventually became more reflexive and conscious. In 1993 we also shot a 16mm collective documentary, before I completed a short film vaguely based on the surrealistic atmosphere contained in David Lynch's Blue Velvet (1986).

What about your relationship with South Korean producers?

To date, I have been able to take advantage of a certain protege status. I have been both lucky and sharp to create durable relations with local producers. Tcha Seung-jae who produced my first two feature films has always trusted me. He defended the artistic choices I made, even when my debut film failed miserably at the box office.

Do you think that the theatrical flop of Flandersui gae (2000, pictured left) drove you towards film genres that were on the outside more conventional?

The screenplay of Flandersui gae is mainly based on my personal experiences, compared to the following features which were taken from news stories occurring in my country. The interiors for that film were shot at my former flat in Seoul. It can be considered as an autobiographical comedy, which follows the developmental pattern of a thriller. Who kidnapped the dog? Some settings like the hot-water heating room in the building may seem to evoke a dark ambiance that is far from comedic.


Your second film Salinui Cheok (2003) deals with a mass murder. Japanese cineaste Kiyoshi Kurosawa revealed that Se7en (1996), directed by David Fincher, had an influence on the direction of Cure ("Kyua", 1997). Did you take any inspiration from Hollywood serial killer movies such as The Silence of Lambs?

Both American movies you mentioned have become milestones in nineties cinema. They continue to exert a transversal influence worldwide on the new generation of film-makers. Besides I've always been an enthusiast of Japanese directors such as Kiyoshi Kurosawa and Shohei Imamura. Nevertheless, I don't consider them to have had a great influence on Salinui Cheok, which is based on a true story that really occurred in Gyeonggi Province between 1986 and 1991.


"Memories of Murder is made up of an unrelenting series of failures, frustrating the proper political vision of a country", argued Antoine Thirion in Cahiers du Cinèma. The story seems to implode, being adverse to any turning point. How did you come up to this narrative structure?

I attempted to focus on the characters' visceral feeling of ineffectiveness. The police detectives are doomed to fail in their investigations. This mysterious serial killer who truly haunted South Korean people twenty years ago still stays unpunished in our country.

This moving picture displays once more Song Kang-ho's actorial talent. How did you come to collaborate with him?

Despite the convincing performance of Lee Sung-jae, Flandersui gae was definitely a "floppola" in Seoul theaters. Therefore I decided to work with Song Kang-ho. His popularity was constantly growing, even among Western audiences since Park Chan-wok picked him for Sympathy for Mr. Vengeance (2002). Yet we should not forget that Song Kang-ho was already showing his talent on the stage until he left his theatrical career behind in 1997.

Could you tell us more about your contribution to the project Digital Short Films by Three Directors 2004?

The three of us each worked on our own. I have to admit that I didn't even view the episodes directed by Ishii Sogo and Yu Lik Wai. Apart from the aesthetic results, this cinematic experience personally gave me the opportunity to check the possibilities offered by digital production.


Loss of control over reality is a topic that remains under the skin throughout your filmography. Panic attacks usually erode the relationships of the characters you invented. Even Gwoemul, despite the happy ending, gives evidence to this feature...

The concept of chaos has always fascinated me from a philosophical perspective. Moreover I would mention also a peculiar form of chaos reflecting the social and cultural context in South Korea. Anyhow, the positive epilogue in Gwoemul is deliberately pretentious. Just consider that the Park family is slaughtered before the final victory against the monster.

The Gwoemul monster iconography is very different from the classical appearance of bipedal monsters such as Godzilla and King Kong. How did you come up with its final look?

The monster's appearance is not based on a pre-existing model. The starting idea was taken again from a true story. I read in the newspapers about a deformed fish with an S-shaped spine caught in the Han River. The monster design came mainly from this strange discovery.


Do you consider that monstrous creatures on screen, such as the North Korean Pulgasari, could convey ideological and moral values?

The role of the monster in Gwoemul is progressively reduced throughout the film. The initial scene set in the military laboratory reveals an attraction-repulsion dynamic towards Americans that is also responsible for the fake virus invention that will disband Park family. However familiar relationships are most assuredly a dominant topic in the movie.
The Gwoemul monster iconography is very different from the classical appearance of bipedal monsters such as Godzilla and King Kong. How did you come up with its final look?

The monster's appearance is not based on a pre-existing model. The starting idea was taken again from a true story. I read in the newspapers about a deformed fish with an S-shaped spine caught in the Han River. The monster design came mainly from this strange discovery.


Gwoemul won funding from the Pusan International Film Festival's Pusan Promotion Plan, and attracted more than 13 million people in South Korean theaters. How does it change your approach to direction when you work on high-budgeted features?

The remake rights to this film have already been sold to a major movie company. I should confess that I am growing weary of writing screenplays. Sometimes I question myself about the future with the same concern that thrills horror film movie-goers. However that may be, my next movie is a low-medium budget feature which is currently in development.

'Dachimawa Lee,' Ryoo Seung-wan's spy spoof '

Ryoo Seung-wan, director of THE CITY OF VIOLENCE, is back with a new movie and it's something a little different. DACHIMAWA LEE is a spy-action spoof of '60s and '70s Korean cinema, right down to the exaggerated acting, crazed martial arts action and post-production dubbing. The film is based on Ryoo's first work, a short film produced in 1998.
Under Japanese Imperialism, a Korean national treasure known as the Golden Buddha is stolen. The interim government appoints legendary Korean spy Agent Dachimawa Lee(Lim Won-hee) to recover the fabled statue and reveal the plot behind the theft. The first attempted operation fails miserably with Agent Lee losing both the statue and his sexy partner. He discovers that he was betrayed by an insider. Fueled by a desire for revenge, he faces off with the shadowy figure behind the plot on a snowy field in Switzerland where the statue is believed to be hidden.
The film co-stars Park Si-yeon, Kong Hyo-jin and Ryoo Seung-bum (CRYING FIST). Lim Won-hee began his acting career in Ryoo's original short and is reprising the role for the feature film. Since 1998 he has appeared in numerous films including NO BLOOD NO TEARS and CRYING FIST.

Chi bi AKA Red Cliff Part I (2008) John Woo ****

John Woo se vratio kuci i krenuo stopama svojih sunarodnika Z.Yimoua i A.Leea u stvaranju i slikanju epova iz kineske proslosti.Cini mi se da je odavno i trebao to uradit.
Red Cliff opisuje poslednje dane Dinastije Han,tradicionalne sukobe,stremljenja,dogme koje su vladale u trecem veku nove ere,uz fantasticnu scenografiju,kostime i zvuk tradicionalnog istoka.
Ne pruza nam Woo nista epohalno i novo,ali ono sto je njegov trademark zasenjuje kompletan film.Retko koji ep nam je u proslosti pruzio ovakve akcione i masovne scene borbe,sto Red Cliff stavlje u vrh ovogodisnjih ostavarenja u zanru.

Quote from: "Shozo Hirono"Ne pruza nam Woo nista epohalno i novo,ali ono sto je njegov trademark zasenjuje kompletan film.

jel proleću golubice ispred stotina hiljada statista koji jurišaju jedni na druge?

Quote from: "Ghoul"

Quote from: "Shozo Hirono"Ne pruza nam Woo nista epohalno i novo,ali ono sto je njegov trademark zasenjuje kompletan film.

jel proleću golubice ispred stotina hiljada statista koji jurišaju jedni na druge?

Nema golubica,ali je jednom scenom sa pocetka napravio omaz samom sebi,kroz podsecanje na film Hard Boiled.

GIRL SCOUT. Four women from very different walks of life unite in order to track down a thief who absconded with an enormous sum of money. Kim Suna (TV drama My Name is Sam-soon, S-Diary), Kim Kyeong-shil, veteran actress Na Moon-hee (The Quiet Family, Kidnapping Granny K) and Kim Eun-joo (Hansel and Gretel) comprise the main part of the cast who form their unique brand of girl scouts, despite their age, in order to take down the scheming owner of a beauty parlor played by Im Ji-eun (Fly Low, Sympathy for Mr. Vengeance). This is the first film directed by Kim Sang-man, but he is no stranger to making movies. He has experience working as an art director (If the Sun Rose in the West, Happy End) and as a music director (Bloody Tie).

Taiyô no kizu AKA Scars of the Sun (2006) Takashi Miike ****

Ovaj film je zrtva guzve i prasine koja je bila oko Sukiyaki manije,a nije ni za milimetar slabiji od pomenutog.Svaki kadar je detaljno osmisljen i razradjen,uz sporo kretanje i podrahtavanje kamere,preko prigusenog zvuka i neutralnog sountracka.Sho Aikawa u najboljoj ulozi od Rainy Doga,par zaista neverovatno zlih spodoba uoblicenih u maloletne delikvente.Efektno prikazane administrativno pravne zavrzlame i zackoljice,koje na srecu rezultuju prelepim sirokoosmehnim osvetnickim krvoprolicem za laku noc i lepe snove nevinog posmatraca.Ko je voleo Death Wish i Mad Max volece i Sun Scarred.

Daj neki rapidshare za braću.

shozo is a torrente man, no RS!

danas ću ja da pročačkam malo...

Pročačkaće i brat Meho. Taman će igre koje skidam da se skinu dok ne dođem kući pa će Miike da lepo utrči.

Evo ga torrent...Sun scarred...
http://www.demonoid.com/files/details/1596703/775222/

Zah Valjujem!!!

DIVINE WEAPON. ("Shingijeon") In the year 1448, the Joseon Kingdom is threatened by invasion from China, and Korea's prospects look weak. However hope exists among a small group of people who are developing a new type of launched weapon. This big-budget film stars Jeong Jae-young (Going by the Book), with TV actress Han Eun-jeong, Heo Jun-ho and Ahn Sung-ki co-starring. Veteran filmmaker Kim Yu-jin (Wild Card, A Promise) directs.

ROUGH CUT. ("Yeonghwa-neun yeonghwa-da") Su-ta (Kang Ji-hwan) is an arrogant star who is constantly getting into fights. Gang-pae (So Ji-sub) is a cool, menacing young gangster who conceals a lifelong wish to become an actor. When Su-ta injures his co-star on the set of his new film, Gang-pae ends up taking the now-vacant role. Debut director Jang Hoon is a former assistant director/editor on numerous films by Kim Ki-duk, who also produced this modestly-budgeted film.

ULHAKGYO ET. Comic master Kim Su-ro (Vampire Cop Ricky, Volcano High) is back in the role of Cheon Seong-geun, a high school physical education teacher who wants to teach English. His unusual character, teaching style and questionable English ability make him the center of attention at the school. Joining in on the fun are Lee Han-wi (April Snow, Holy Daddy) and Baek Seong-hyeon (Marathon, Kiss Me Much). This fast-paced, teen comedy is directed by Park Kwang-choon who has given us to date Soul Guardians (1998), Madeleine (2002) and She's On Duty (2004).

Jedan od favorita godine iz Japana


Tokyo Sonata
Kiyoshi Kurosawa

Country: Japan/The Netherlands/Hong Kong, China
Year: 2008
Language: Japanese
Runtime: 119 minutes
Format: Colour/35mm
Rating: 14A


Tokyo Sonata is the latest invention of Kiyoshi Kurosawa's generous artistic soul, and an archetypal product of a powerful cinema prone to investigating the borders between the visible and the invisible. Straying from the trendy J-horror genre, the master of Japanese chills ventures into family drama, territory that carries a different dark suspense.

Loyal salaryman Ryuhei Sasaki (Teruyuki Kagawa) loses his job when his company begins outsourcing to China. Incapable of facing the tragedy of his new reality, he hides his failure from his family and, weaving an intricate web of lies, pretends to have kept his job. As it turns out, he is not alone in this deception. At home, he tries to maintain the normal routine, though it soon becomes clear that this family has tragically lost touch with one another. His wife Megumi (Kyoko Koizumi) attends to her chores and keeps up with their two boys, rebellious college-age Takashi (Yu Koyanagi) and quiet, younger Kenji (Kai Inowaki). However, nothing feels or looks the same for Ryuhei, who has lost his honour and his place in society. Kenji's simple request for extra money to take piano lessons however tips the balance of their artificially sustained family stability, pushing it over a ruinous precipice of unforeseeable external events.

Kurosawa's quiet, elegant di2rection guides his actors – especially Koizumi and Kagawa – to outstanding performances. As a wife left starving for affection and contact, Koizumi is devastating, and she never exploits the natural pathos of her character's plight. At the same time, Kurosawa puts his own stamp on the domestic drama genre. The family is ordinary, but the narrative takes unusual turns. The mise-en-scène lends an eerie mood. Overall, the effect is of a poignant reflection on a kind of mass uncertainty sweeping Japan.

Saam bat gun AKA Chaos (2008) Herman Yau **

Zloglasni Herman,cuven po svojim Cat III ludorijama i perverzijama tipa The Ebola Syndrome ili The Untold Story,uzjahao je talas apokalipticno-futuristickog mudrovanja,donoseci pricu o dve persone zaglavljene saobracajnom nesrecom u izolovanom zatvoru buducnosti.
Ono sto Hermanu najvise nedostaje jeste nesto pozamasniji budzet,jer danasnji SciFi nosi odredjene standarde,a u klaustofobicnoj atmosferi ni prica mu ne pije vodu.Nema onog njegovog tradicionalnog humora,sve je sumorno,mracno i UZASNO DOSADNO !!!

Geuddae geusaramdeul AKA The President's Last Bang (2005) Sang-soo Im 4.5/5

Vec 24 sata me progone kadrovi i scene ovog filma stvarajuci gomilu pomesanih osecaja.Nema sumnje da je Sang-soo Im stvorio delo koje ima i umetnicku i istorijsko-biografsku vrednost koje ce sa godinama zasigurno biti kao kvalitetno vino.
Najbolja stvar koju uradim kada osetim da u rukama imam malo remek delo je da ne citam i spojlujem previse o njemu !Ono sto je fakat,je cinjenica da The President's Last Bang na prvu loptu i odmah razumeju ljudi koji su bar nekoliko godina ziveli u totalitarnom sistemu ili pod bilo kakvom vrstom politicko-drustvene represije.U tom smislu ovo je A MUST-SEE,koliko god to danas otrcano zvucalo !
Autor filma imao je pred sobom izuzetno tezak posao i zadatak u pokrivanju najkriticnijeg vremenskog perioda u istoriji Juzne Koreje.Sve je to smesteno u okviru 24 casa.Umesto pukog naklapanja,nabrajanja i prepricavanja,Sang-soo Im koristi nekonvecionalnu metodu,a to je tradicionalni azijski crni humor.I to ima zastrasujuci efekat.U momentima kada sam potpuno zbunjen i konfuzan,kazem sebi:"Pa ovo je istina i deo istorije !"Jer neki fakti izgledaju malo reci cudno,neverovatno ili krajnje nepredvidivo....a opet su istiniti !
Pokusaj "plisane revolucije" specijalne sluzbe Koreje u to vreme se sukobljava,u okviru par sati sa ipak najvecim monstrumom totalitarizma,koje predstavlja Armija.Na kakvim staklenim nogama stoje takvi sistemi,Sang-soo Im sjajno dokumentuje.I ne samo to.Svaki kadar je temeljito osmisljen,menja tempo kada je to potrebno,ali i nikada ne zaboravlja da je film pre svega umetnicko delo,shodno tome uspeva da docara i samu lepotu pokretnih slika.
Poseban segment predstavlja krajnje emotivan momenat,koji prikazuje koliko je tesko oduzeti ljudski zivot,ma koliko bilo veliko i zlo cudoviste koje stoji ispred vas.Sjajna je i scena u kojoj President Park proziva Amerikance i tadasnjeg njihovog predsednika Cartera,zbog stalnog pritiska da Koreja krene putem demokratizacije:"Pa sta hoce oni.Koliko demokratija imamo danas[u pitanju je 1979a!!!]???U.S.A.,Canada,New Zealand,Australija,par zapadno evropskih,u Aziji samo Japan,u Africi nijedna,u Juznoj Americi nijedna !!!JA BAR IMA OPOZICIJU[onda sledi gromoglasan smeh!]""Kakva bizarna cinjenica !

"Asian Invasion" (2006) - Japan

 BBCjev dokumentarni serijal iz tri dela bavi se naletom azijske filmske industrije u poslednjih 10-15 godina na zapadno trziste i kulturu.
Japan je u tom pogledu najkomleksnije obraditi na ovaj nacin i kvalitetno smestiti u nesto manje od sat vremena.
Host serijala je bio fan azijske kinematografije Jonathan Ross.On se prvo fokusirao na rezisera u naletu sa kojim je ugovorio intervju,a to je R.Kitamura.Razgovor je tekao na tecnom engleskom,s obzirom da se Kitamura skolovao u Australiji.Inserti iz Versusa,Azumi i Final Wars su isli tokom razgovora,uz Kitamurine komentare o uticaju Raimija i slicnih na njegov rad.
Dobar segment dokumentca zahvata i deo o Kitanu uz inserte iz Violent Cop i Sonatine,i Miikeu pracen Audicijom,Gozuom i HOTKatakuris.Nazalost,iako je to lepo prokomentarisano nema razgovora.
Neizbezni anime-manga uticaj na zapadnu umetnost sagledan je temeljito uz kratak razgovor sa Miyazakijem,malo duzim sa Mamouru Oshiijem,i podsecanje na radove K.Otomoa.
Glavna steta i propust je studiozna obrada J-Horor zanra i njegovog znacaja i uticaja.Znaci nema pominjanja ni Nakate niti Shimizua.Prilicno nedopustivo.Ipak,interesatno,zanimljivo i informativno,ako nista drugo.

Asian Invasion (2006) - Hong Kong

Mozda usled dugogodisnje vladavine britanske imperije ovim prostorom,koje je opet rezultovalo znanjem engleskog jezika,ovaj deo serijala ispade najtopliji i otvoreniji.
Rossovo sentimentalno podsecanje na Bruce Leea i njegov znacaj na tzv. martial arts zanr zahvataju dobar deo uvoda.Sledi pogovor o njegovim naslednicima,koji opet uticu i jedan na drugog:Jackie Chan i Stephen Chow.Odbegli Chan je bio nedostupan,a razgovor na Chowom je i najduhovitiji deo epizode,jer se radi o otvorenoj osobi vedrog karaktera,spremnoj na komunikaciju.
HK legenda John Woo ima svoje naslednike,i oni stizu i liku i delu Johnny Toa i Infernal Affairs autore,koji ce samo godinu dana kasnije prodati prava Scorseseu,Wai-keung Lau i Sui Fai Mak.
Poslednji segment govori o drami ovog 6 milionskog megapolisa,i tu je neizostavan Wong Kar Wai,i njegov naslednik Derek Yee.

Asian Invasion (2006) - Korea

Ovaj treci deo je trebao biti najcelovitiji,jer je u biti zahvatao razdoblje od nekih 10-15 godina,koliko korejska kinematografija pravi znacajan iskorak za zapadnom filmskom carstvu.
Dobrih 20 minuta je autor serijala posvetio the one and only[barem u tom momentu] Chan Wook Parku.Uz osvrt na gotovo sve njegove filmove,ovo je as expected.Broj 2 u Koreji je naravno Ki-Duk Kim i njegove psiho drame,uz temeljit sazetak masterpisa Spring,Summer.....
E onda krece prica o njihovoj industriji i blokbasterima,gde znacajan upliv ima Je-gyu Kang sa svojim hitovima Swiri i Tae Guk Gi: The Brotherhood of War.Malo se tu zvakalo,kao i u slucaju JSO Parka,o odnosima Severa i Juga podeljenog ostrva,politici,totalitarizmu i politickoj represiji.
Prva moja ozbiljna sugestija ide na racun pokrivanja segmenta o hororu.OK,Su-chang Kong je bio u tom momentu najznacajniji sa filmovima kakvi su Tell Me Something i R-Point,ali ne pomenuti A Tale of Two Sisters je neoprostiv greh.A sam Ji-woon Kim je zestoko ostecen,jer je u delu o Japanu i Miikeovom Katakurisu,film je pomenut kao rimejk korejskog horora,bez pominjanja njegovog autora,niti imena doticnog originala.Plus Kim je imao vec jedan hit na box offficeu The Foul King.
Druga VELIKA zamerka:PA GDE DOKUMENTARAC O FILMOVIMA O KOREJI A DA NE POMENETE Memories of Murder !!!!
Nema pomena ni imena kakva su Sang-soo Hong,Chang-dong Lee,Hae-sung Song,Hyun-seung Lee,koji su vec tada dali znacajan doprinos korejskoj drami.Umesto toga bilo je reci o bioskopskom hitu My Sassy Girl,koji je vec tada imao ugovor za americki rimejk,a ni pomena o filmu Siworae,koji je kao rimejk pretekao Sasi devojcicu !
Lepo,ali nedovoljno !

Da li postoji neki drugi termin za ono sto Mamoru Oshii zove deriva?

Ne mogu na netu nigde da nadjem.

Deriva > Adrift
U segmentu o Japanu sjajan je razgovor sa Oshiijem.On je daleko,daleko ispred svog vremena.Ali i pored toga daje smislena objasnjenja detalja i sekvenci iz Ghost in the Shell.Svaka sitnica kod njega ima smisao i unapred je pripremljena.Mozda bolji odgovor moze da ti pruzi neko ko pomnije preti mange.

Kao i vecina gledalaca istreniran sam bio na americkim filmovima gde ima akcije i radnje non-stop.
Zato ranije uopste npr. nisam mogao da gledam Akiru ili GITS, upravo zbog te pauze u radnji. Tada sebi nisam mogao da objasnim zasto je to tako, i zasto su mi ti filmovi bili teski za gledanje.

Oshii kaze, citiram:
"Deriva means the area of time where the drama doesn't develop within the film's storyline. I think action sequences and deriva or atmosferic pieces are the same thing. That is because the main character does get involved in these sequences even though the drama or storyline is not developing.
In Hollywood films they tend to avoid deriva, they have too many action sequences in general, in my films, ok maybe they have too much deriva, however they're both very important elements. There are sections where the director wants to show not the drama itself but the world that the character inhabits. What I'm trying to show in my films is a world that seems very real and works in real time and real scale."


Upravo je ovo ono sto me je nekada odvlacilo od japanske animacije i Oshiija u ovom slucaju. Naravno to vise nije slucaj.
Mada zanimljivo je da i za to postoji termin.

Pa to objasnjenje je i dao i u dokumentarcu,a i u intervjuima.
Iskreno,imam vise njegovih filmova no sto sam stigao da pogledam.I video sam samo 3:The Red Spectacles,GitS i Avalon.

ONCE UPON A TIME IN SEOUL. ("Sonyeon-eun ulji anneunda") While some people might argue that Bae Hyeong-joon's debut film, Too Beautiful to Lie was too light for its own good, nobody will be able to say that about his follow-up film. Set in 1953, immediately after the conclusion of the Korean War, two boys struggle for survival in the remains of the city that cannot afford to take care of people lost and weak. Lee Wan (mostly known for his tv roles but also appeared in a Japanese film called Veronika Decides To Die) as Jong-doo, Song Chang-ui (My Girl and I), Jeong Kyeong-ho (R-Point, Lump of Sugar) and Park Glena (Flying Boys) will star in the film based on a novel by Kenzo Kitakata. Described as a hard-boiled action film, this MK Pictures production will be released by Studio 2.0 on November 6.

CHONGQING. Director Zhang Lu originally intended for Iri and Chongqing to be a single feature, but he found that the footage he shot in Chongqing, China was enough for a film of its own. The story provides a dark portrait of contemporary China, through the tale of a Chinese language teacher who becomes sexually involved with a policeman. There is a slight connection with Iri: one of the characters is a Korean man living in Chongqing, and one day he tells about his hometown Iri (Iksan) and the tragedy that happened there. Sponge Pictures will release the film on November 6.

TOKYO! Three short films set in Tokyo comprise this omnibus included here because one of the films is directed by Bong Jun-ho (The Host, Memories of Murder). Bong tells the story of a person suffering from agrophobia and the young woman who gets him out of the house. It is entitled Shaking Tokyo and if you are thinking an earthquake is involved somewhere, then you are right. It stars Yu Aoi (Don't Laugh at My Romance), Teruyuki Kagawa (Sukiyaki Western Django) and Naoto Takenaka (Catch a Wave). Also directing films for this collection are French directors Michel Gondry (Eternal Sunshine of the Spotless Mind) and Leos Carax (Pola X). This film is co-produced by Sponge and the Japanese company Bitters End. It will open in Korea on October 23.

Oneechanbara: The Movie (2008) Yôhei Fukuda 2.5/5

Koncipiran kao tipican industrijski produkt,ovaj film baziran na VG,ne izlazi iz okvira poluzabavnog proizvoda,usmerenog pre svega ka japanskoj napaljenoj tinejdz generaciji,koja posle The Machine Girl uzima vazduh pre pojave Tokyo Gore Police.
Nisam apsolutno siguran da li bi ovo u kakav takav film pretvorio i veci znalac iza kamere,pa mu ovo dodje iskljucivo kao produkt koji se konzumira uz kokice i kolu,ukoliko ako vam ne presednu usled beskonacnih vratolomija prilicno zanimljivo odabrane grupe glavnih protagonistinja.

A s obzirom da ovde imamo izuzetno zgodne japancice,prilicno oskudno odevene,pa jos u borbi protiv zombimanije,bicu slobodan da ovaj film toplo preporucim Harviju !

Quote from: "Shozo Hirono"A s obzirom da ovde imamo izuzetno zgodne japancice,prilicno oskudno odevene...

Skinuto!

Quote from: "Milosh"

Quote from: "Shozo Hirono"A s obzirom da ovde imamo izuzetno zgodne japancice,prilicno oskudno odevene...

Skinuto!

Daj link!

http://www.mininova.org/tor/1710145
http://www.mininova.org/tor/1870410

OUR SCHOOL'S ET. ("ULHAKGYO ET") Comic master Kim Su-ro (Vampire Cop Ricky, Volcano High) is back in the role of Cheon Seong-geun, a high school physical education teacher who wants to teach English. His unusual character, teaching style and questionable English ability make him the center of attention at the school. Joining in on the fun are Lee Han-wi (April Snow, Holy Daddy) and Baek Seong-hyeon (Marathon, Kiss Me Much). This fast-paced, teen comedy is directed by Park Kwang-choon who has given us to date Soul Guardians (1998), Madeleine (2002) and She's On Duty (2004).

Oh! Soo-jung AKA Virgin Stripped Bare by Her Bachelors (2000) Sang-soo Hong 3.5-5

Iza ovog lascivnog naziva se krije drama koja nestabilno plivo izmedju Nouvelau Vague i W.Kar Waiovih sentimentalnih hongkongskih uradaka.Medjutim,Sang-soo Hong ne postize efekat koji je autentican za slicne naslove,koji se bave ovom tematikom.U crno-belo naslikanom svetu intelektualnog ljubavnog trougla,nije nimalo lako pratiti dogadjaje,jer su oni prikazani iz dva razlicita ugla gledanja,pa to moze bez docnijeg spojlovanja,stvoriti konfuziju.Nedostatak dinamike nadoknadjuje se artsy efektima i simapticnim dijalozima,koji na zalost ne mogu prici Kitanovim slicinim akciono-dramskim postupcima.Ako na stranu stavimo elemente koji meni zapadaju za oko,ovaj film sigurno ima svoje sledbenike i poklonike.

Heh, pošto je engleska verzija naslova parafraza imena jednog od Dišanovih velikih dela, baš me zanima šta znači naziv na korejskom...

Quote from: "Meho Krljic"Heh, pošto je engleska verzija naslova parafraza imena jednog od Dišanovih velikih dela, baš me zanima šta znači naziv na korejskom...

Oh! Soo-jung= rekao bih da znači: PRSTE SEBI, ONA JE OH TAKO MLADA!

Quote from: "Ghoul"

Quote from: "Meho Krljic"Heh, pošto je engleska verzija naslova parafraza imena jednog od Dišanovih velikih dela, baš me zanima šta znači naziv na korejskom...

Oh! Soo-jung= rekao bih da znači: PRSTE SEBI, ONA JE OH TAKO MLADA!

Naravno,Soo-jung je ime glavnog zenskog karaktera u filmu.Na zalost,glumica Eun-ju Lee je par godina kasnije izvrsila samoubistvo,presekla je vene i obesila se u svom stanu,a sve zbog porodicnog sukoba oko scena iz filma The Scarlet Letter.

Quote from: "Shozo Hirono"Naravno,Soo-jung je ime glavnog zenskog karaktera u filmu.Na zalost,glumica Eun-ju Lee je par godina kasnije izvrsila samoubistvo,presekla je vene i obesila se u svom stanu,a sve zbog porodicnog sukoba oko scena iz filma The Scarlet Letter.

to se zove TO BE ON THE SAFE SIDE!

bilo bi zabavno da se obesila sopstvenim venama... ehh, pusti snovi...

To poigravanje venama me uvek podseti na Fredijevo puppetarenje iz treceg dela !